An Arts Controversy in London… In My Opinion Exhibit B

There is a big controversy going on, regarding a certain Exhibition or is it a performance or are these terms synonymous, given the formal space the Barbican the work is situated in ? It is taking place in London and you have to pay £20 to go and see it. Given the content of the piece depicting black people as a 'Human Zoo'.  Re-iterating, pernicious, excoriating, colonial racist, sexist, misogynistic imagery, what for  'mock' hip voyeuristic consumption, of  an anticipated white/black liberal audience ?  In some cases, to go see this work, for black people in this day and age given our histories/herstories, it maybe a form of  willful self harm, impacting on hard won confident, liberated afrocentric  identities  i.e. as a retrenchment of negative, so called racial identities/stereotypes. If they were all to write an impact statement about this particular work ... how would they read ? 

This  work  might provoke  as an initial response, mocking laughter in regions, such mine for example, when I have discussed it with my fellow colleagues  they have suggested "  why  would anyone pay to go and see such old style stereotypical racist crap" without putting a finer point on it !.   There has been some conflicting, fascinating, and passionate  opinions expressed by leading figures with national profiles, some are of specific interest to me from the black arts cultural and political communities.  It has actually been somewhat bewildering, but frankly reassuring to me, to see in particular, the way some of these positions, have been so fiercely articulated. Why so? Because it is important,  from my perspective, as an artist, who has produced arts performance, theatre and film heritage, exhibitions, etc. written articles on art criticism AN Newsletter, plus working with all manner of different artists. For me  to come to some clarity, as to my own view on this contentious matter.

 Overall, I have reviewed the material contained within the work in question online.  Without the need or desire  to view it in person (this in fact is how curators often book work in the first place).  I have concluded, that  the work Exhibit B from my point of view, presents as poorly conceived art, with no real artistic merit.  As it is wholly predictable, and paradoxically reduces in a significantly negative way, rather than adds meaningfully, to our desire for art, to help us gain a deeper meaningful understanding and real engagement, with the complex and troubling issues it purports to address. It does not take us forward in any way, in terms of the post traumatic syndromes  and legacies of Imperialism /Empire, Colonialism and the racist sexist ideologies that underpin them, nor does it  furnish us with any new perspectives, tools and or strategies to move us forward.  Maybe it is not able to or more pointedly does not want to apply this type of artistic oeuvre and rigour to the work, but I would ask the question, so why take up the time and space … just because you can as a white artist ? 

Many  people it would seem, like me, are not just shocked in this day and age, but wholly fatigued and angry, with the avalanche, of a disempowering repetition, of the imagery of the legacies of blood, pain and exploitation, black people have and still endure. Conversely, we are utterly dismayed at the veritable absence and lack of cogent, intelligent  fresh, new innovative engaging skilled  art work/s, that are able to create truly ground breaking work, from new black artists or white artists. Work that breaks with the old concepts,conventions and orthodoxies and elitist liberal  tastes, as exemplified by the work in question.  Work that speaks volumes powerfully of agency, that does not just tell the 'one story' (Chimanda)  and is truly well informed as to its subject matter and its likely eventual impact.   So what is the new in this work that is due to launch ?  What therefore justifies this work in this space and time, or our attention and reflection ? How does it present an artistic vision, thats grounded in what exactly? Whose psychic geographies, are visualized here that merit our consideration and in my view substantial financial investment, in these challenging economic times? 

This work clearly strives to create a frisson of  sensationalism, by way of justifying its existence, whilst it also plagiarizes ideas and work by other artists, who have used the human body/bodies, but more far more eloquently and less exploitatively in their work. This particular work in question, re-creates visceral and troubling spectacles of 'human tableaux', which is certainly nothing new, old hat in fact in performance art.  But in this case, the subjects are black and mute and are neither authors or collaborators, there is no agency on their part, which would make the work, more interesting and really innovative, by grappling with the likely dynamics and tensions, that would arise and exploring these, creatively with an open progressive approach.   The obvious question of whose gaze, in terms of the audience, does not appear to have been a consideration of the lead artist, who is a white man. Or indeed the likely experiential and psycho-emotional impact on the local black actors recruited, to fulfill the 'static' objectified role/s within the piece. Or in fact the way this relates to the location of the piece, within a such a vibrant diverse metropolis as London.  

 When issues have been raised by the black actors themselves, in terms of their prescribed roles within the work, accurately voicing real concerns and valid points, which are primed for meaningful creative discourse. These were swept brusquely aside by said white lead artist.  For me this speaks loudly, as to the actual power relationships, that are being  repeated and played out in the actual production/delivery of the piece,  I find this to be key and compelling evidence for my negative view of this lead artist's fantasies, and indicative as to the way this particular work, invokes a somewhat repellent taxidermy-like ambiance, that fetishizes the black body and repeats  historical and existing power relationships within society. It makes me think of what happened to Sara Baartman and it makes me shudder. Imagine if we could all be observers of the making of this piece, to deconstruct it and see exactly how it  was devised conceptually, think how we would be compelled to intervene and make changes, offer it up as a non starter in the first place ?  Would we have said tear it all up and make something else …something better or let someone else do it in a different way!   So having reviewed the material contained within this work and my overview of  the different opinions and comments. I have concluded this work is very poorly conceived art, therefore I do support a cultural boycott, of what is simply very poor art i.e deadening and un-enlivening in any way,  and I feel this has to be said unequivocally. 


Below are some selected blog  links I think are interesting re:this Art controversy in London. NB. Yvette Gresle recommended

Yvette Gresle http://www.3ammagazine.com/3am/twenty-pound-spectacle-brett-bailey-exhibit-b/

Akala  http://www.huffingtonpost.co.uk/akala/barbican-centre_b_5809508.html

Lemm Sissay http://blog.lemnsissay.com/2014/09/07/clear-black-white-two-reasons-exhibit-b-must-banned/










  

Getting Ready Now !

So, this month I am getting ready for the public reading in the Autumn in October 2nd 2014. As several brochures will come out this month, promoting my choreopoem reading event. These Leicester brochures are: Embrace Arts, Everybodys Reading and Black History Season.  In addition the event is listed on the Writing East Midlands page.  

I have much work to do, casting for a good actor, for the script in hand reading, no mean task this (I have some leads to follow up). Given the text is a dramatic monologue, also taking into account the physical and other requirements I require, as to how the character  Martin/Maz should look and be. Directing this will be something I very much look forward to, alongside how the  audience will respond to the work, their questions and comments.  This will help me to work out the next steps with the text, as to whether the text is for production for stage or film  - or indeed both ? So excited…right now !! 

Dancing On The Ceiling !!!

 I have been dancing on the ceiling and also walking around a wee bit off the ground all last week.  I have had the official feedback and…the writing is quality and excellent ! So now the digital presentation and application can move forward a pace.  I am so excited now to see how this choreopoem is received on Oct 2nd at Embrace Arts Leicester, when it has its first public reading/sharing hopefully using a professional actor to read the monologue. Some of the other brilliant completed commissions for the Affective Digital Histories project are available to read here http://www2.le.ac.uk/departments/english/creativewriting/centre/creative-writing-commissions
I have enjoyed the whole process in term of researching and writing so this stage is absolutely critical . 

To date, I have had at least one meeting and exchanged a couple of emails with the Digital Designer for Affective Histories exchanging ideas, agreeing as to how best to present parts of the narrative digitally e.g. for an app and website. I am looking forward to see how this process unfolds.  

  

Choreopoem Narrative Text Complete - Next Steps !

What a great feeling! To have completed the narrative of the choreopoem. As always it has been, another fascinating journey, in terms of the research and creating a fictional story, that will I hope will be compelling and animate the St Georges/Cultural Quarter area. Using a range of sources and archive material, for the narrative, as well as referring to the areas geography - its streets, buildings and of course people over time. I have drawn on my own and others experiences and recollections of the area. Highlighting the bar club culture and other buildings that housed e.g the organization Spectrum - a building used primarily by the Leicester African Caribbean community, that was the birth place of Dance music pioneers DJ SS and yours truly ( my first ever House Music performance) , alongside  other memorable community events. A notable selection include  Ajani Women & Girls Centre 10 years Celebration Show, Free Nelson Mandela Benefits and Jazzethics Shows featuring the Jazz Warriors, Jean Toussaint (saxophonist) , Alan Weeks and Phillip Bent (flutist).

The next stage is to enter into discussions, with project colleagues, as to how to digitally present selected parts of the choreopoem. In addition to plans for a public reading/sharing,in the Autumn, as part of the overall continuing development of the piece. As in time, there will be music to be composed and movement devised as part of the work. This choreopoem raises contentious and controversial issues so I am keen to know how an audience responds.

In the Zone & Remembering Sue Townsend And Gabriel Garcia Marquez

Despite a busy month of work activities and some untoward  personal events I will not go into here…I have got 'into the zone' that is the immersion, I experience when writing, After all the research the notes ,  its then time to just write and go with the flow - see where it all goes.  I rather like the way you can be surprised, when your loose plan of things, takes an interesting turn or some deep insight suddenly becomes apparent about a character or an situation.  It  is therefore important to be open and be flexible, to be ready to change things as the situation demands. This can be  fun, also when a characters voice comes thorough loud and clear, there is s feeling of exhilaration as you try to capture that voice.  Of course the narrative is the  journey and the plot the route so to speak . So being free to vary both - the plot and journey is key.  i often ask questions as to how things may work out and then ask myself why ?

The challenge of this piece of writing, stems very much from its subject matter and premise.
i feel it is important to stretch myself in characterisation, situations and the narrative  - to leave my comfort zone. However there some similarities with my previous piece, insofar as I remain committed to tackling marginalized voices and issues. The protagonist, first surfaced in my previous choreopoem and their story  it seemed to me needed to be told. So this the second narrative, in what I plan will be a trilogy i.e. Solitaire's  narrative in The Loneliness of the Long Distance Diva, being the first in the series. 

 Gabriela Garcia Marquez:  the father of magic realism and Sue Townsend: a stunning writer from my home city.  Both of them sadly passed way this month. Two very different writers, but both held in very high esteem by me. Their  great writing  and fascinating lives, will continue to be  source of  great inspiration to me to continue on my own journey as  writer. 

So Some Research Done…Just Write!

As part of my work on writing a new a new choreopoem. I have been immersed in WW1, social history around Leicester, in particular the Cultural Quarter. The factory buildings, the St Georges Church, other buildings that have been demolished now, but were part of my growing up in Leicester. They were  important and of great significance to me and my peers. I have discovered so many fascinating things. I was totally unaware of the glorious proud history/herstory of Leicester in terms of its' politically progressive and radical past.  The development of the Secular Society and its impressive building, the Co-operative Society and Trades Unions and other Socialist Movements. Lastly but not least, the impact of  First Wave Feminism on Leicester  - the Suffragette Movement and women e.g Like Alice Hawkins, but there were many other notable women too. Reviewing a range of archive material from Reports, to Oral history, to looking at photographs of the relevant historical periods, for the narrative I plan to write.  Ned Newitt's historical  book on the Working Poor and Slums of Leicester has been invaluable also. A recent conversation with him yielded some very interesting information and I plan a follow up meeting with him soon.

Since my last post I have attended at Leicester University a marvelous Inscribe Work shop, with Bernadine Evaristo on fiction writing (always good to meet an author whose book  Mr Loverman you have enjoyed)  In some ways this book has been a great inspiration for my current choreopoem and Bernadine was a great tutor-a joy to meet. Such topics as race, gender, sexuality and identity are key for me right now. Grappling with all of those is no easy matter and critically, how do all these issues inform the narrative for the choreopoem I am writing.

Writers Diriye Osman &Thomas Glave & First Meeting Writing Commission

It has been such a fascinating month - an LGBT month ! With my first visit to Word Factory - a short fiction event, to see amongst other writers, the fabulous Diriye Osman, a Somalian based in London, read from his book of Short Stories 'Fairytales for Lost Children'. In his book he shows also his considerable visual arts talent, as he supplies the enchanting illustrations.  It is hoped to bring Dirirye Osman, back to Leicester later in the year to share more of his work - watch this space... .  I  subsequently bought his book, which is both moving, poignant and erotic at times.  I went  also to hear Thomas Glave,  a Jamaican Professor of Creative Writing (USA) Writer & LGBT Activist, speak about his work in progress - a  powerful memoir .  It stirred up strong feelings within me, as to Jamaican women, their legacy and impact, upon Thomas Glave and myself as writers.  Additionally the importance  and power of memory, in particular reflecting on personal items e.g  a Mothers passport,  in the development of the writing. In the Q & A  session after, there was discussion about  different identities and moral issues, writing about intimate matters, in relation to living persons.  I am currently reading a collection of short stories by Thomas Glave titled 'Whose Song'.  

Tomorrow evening, it is  a further information exchange and I will meet the other successful writers for the Affective Digital Histories: Creative Writing Commissions Project. Our deadline  to complete our written pieces is set of May 30th 2014. I am very excited and have already had some contact with one of the other writers.  We also  meet the members of our project team, in particular the Centre for New Writing &  Research Staff  based at the Leicester University - some of whom we  have met previously.  Only now the work will begin in earnest, as  to how best to access the research information we all need etc. The research part of a writing project is always enjoyable for me .  As I embark on a huge learning curve about my given subject matter. To then be able to create characters, that are as authentic as I can make them .