Getting Busy Pre-Production Game On

This most recent period, has been marked by a series of productive meeting with Curve Theatre and freelance producers,  and very helpful advice from Arts Council England, exploring the possibilities for producing Love The Life You Live Live The Life You Love later this year for a sharing for interested venues and bookers. in addition to discussing associate membership and a mentor for me as Director for the project.

After listening to the text, we now have on board the project, an excellent Choreographer, known for truly exciting physical theatre on board with an excellent region al nation and  international reputation. More details will follow in due course, regarding other members of  what will be a first class creative team to be recruited. Along with opportunities created for a Producer and student placements etc.

During this time work has also been done on tweaking, the governance for The Dare to Diva Company Advisory Board. It is likely this group will meet in due course to begin to guide the Funding application/s and oversee the project timelines and development.

All this work is fitted in between personal appearances performances and readings along with teaching and coaching voice and performance skills having moved to a new Performing Arts Academy and venue, after the closure of Sheehans Music Academy

A New Year.. New Developments

A new year begins 2017 and new developments...as the  prestigious Leicester Writers Club Award wining Choreopoem Love The Life You Live...Live the Life The You choreopoem, with text music, physical theatre, still and moving digital media, written by Carol Leeming who will also direct. Highlighting issues e.g.around identity, race ethnicity, LGBT and gender performance, is in pre-production for a staged public sharing at a major theatre later in the year.

You can buy the book anthology and find out more about the Hidden Stories project and anthology, by clicking the links at the end of this blog. Get the book and read this stunning choreopoem included, along with other great writing.

At this exciting, pre-production stage, excellent innovative collaborative creative team are being put together along with funding bid proposals.  A key role will be a producer/arts manager for the project making important links with venues for 2017/2018. It is hoped for this new production, that the piece will have an expanded music composition incorporating choral music

It is expected to be an exciting cutting edge and thought provoking even shocking production. The actor performer required for this ground breaking production  will need to be adept with monologue verse (non rhyming) and a bespoke physical theatre. The narrative which will certainly complicate Briton's historical narrative, with an expected immersive and completing performance.

Do stay tuned to this space for regular updates on the progress of this production.

http://www.phoenix.org.uk/blog/hidden-stories-book-launched-at-phoenix/ http://phoenixleicester.tictail.com
http://www.phoenix.org.uk/hidden-stories-book/

Published! Love The Life You Live…Live The Live You Love - Hidden Stories Book Launch 31st March 2015

Wonderful! The Hidden Stories Anthology print Book published by Affective Digital Histories, with my own choreopoem Love the Life You Live Live…Live The Life You Love included, is  launched is next Tuesday 31st March 2015 at Phoenix Digital Media Centre Leiceste . This the culmination of some excellent writing by the Creative Writers commissioned alongside myself, and all the Affective Digital Histories Team, of creatives and academics drawn from Leicester University,Centre for New Writing Phoenix and De Montfort University.

I just can't wait for the launch,when all the creative Writers will read and present extracts, from their writing in the book. It will be great to meet with them all socially too.  Corinne Fowler and Ming Lim who both led this innovative project, will adding also their own contributions, to what will be a wonderful evening, indeed so far the launch of the year for the region certainly!

Siobhan Logan Award Leicester Writers Club 2014 - Awarded to me - I am so Proud!

So its been an interesting  year to say the least, some ups and downs and round and round..
But overall lots of good things too, not least the completion of the Affective Digital Histories Creative Writing Commission the choreopoem, Love the Life you Live … Live the Life You Love and the wonderful audiences reaction to it. This year, I have attended more meetings of the Leicester Writers Club and enjoyed an learnt so much - every time I attended. I said to myself come 2015 I would attend even more meetings, as I am sure this will develop my own writing and appreciation of literature overall. As the Leicester Writers Club boasts a good number of published writers and poets and their  professional insightful and constructive feedback is most welcome.

I resolved to attend the Leicester Writers Club Annual Dinner, with a view to getting to know other members better and get a feel for this eagerly anticipated and important occasion.
We gathered at the Taste Restaurant for drinks, followed by the most delicious and elegant food. The convivial company at my table was equally fabulous, local Authors Rod Duncan,Chris De Lacey, Terry Bradshaw, Divya Ghelani and Siobhan Logan. Our Club Chair Lindsay Waller - Wilkinson, gave the most brilliant narrative style introduction to the more formal part of the evening. With Author Jean Chapman as a lovely and encouraging guest speaker. 

Then came the Awards, many were named after  previous  esteemed members, as the Club has been in existence for 50 years ! There were a number of awards, many for new novels, prose writers etc. and it revealed to me the high-level of activity and successful achievements of the Clubs members over the last  year. I knew how important this is to encourage writers in their work and there was ready warm applause all round. Imagine my surprise when my own name was read out, for a new award named after Siobhan Logan for Crafting Writing for Listeners, in recognition of my new choreopoem creative writing commission and the subsequent successful public reading event - Siobhan had outlined a long list of of other worthy members that were nominated for this award.  So I staggered up to receive my prize, very moved by and feeling so very proud!  Wonderful to be acknowledged and receive such an accolade from my esteemed peers in the club - a truly unforgettable night . This has as boosted me to continue with my writing and to aim for further achievements and success in the future. 

WEM BlogHop: I Have A Dream…As I Stand On The Shoulders Of Giants

Black History/Herstory, is mine, and yours, it is World History/Herstory. Therefore it should be an all year round subject for us all, in terms of understanding various forms of oppression faced by Black people. Rewriting,reframing and reconstructing, so much important information,that has been hidden from us over  the decades and centuries. Writers have always played an important role in re- imagining the past. So when I think of my own writing, there have been so many influences and inspirations-to many to mention them all. I will highlight in particular those Black Writers-African American, Black Caribbean and Black British Writers. Those who have undoubtedly shaped significantly,my journey as a writer, social/cultural commentator and as a person. 

 As a Leicester born black young girl, of African Caribbean Windrush parents, experiencing racism in England, not quite fully understanding, its profound negative long lasting effects, on myself or across the wider African Diaspora. I simultaneously witnessed, importantly via TV the coverage of such momentous historical events e.g as the assassinations of Martin Luther King, Malcolm X,the Civil Rights Movement, British colonial strife in Africa: South Africa, Rhodesia now Zimbabwe and Kenya.  So a dream of a better world, one of Social Justice, Equality, Human Rights etc. took hold in my mind fairly early on and continues to this very day.

A pivotal point for me, is from the tender age of 13 years, after going through reading, greek mythology, comics, Jackie magazines and Tolkien. These rebellious teenage years of mine, led to a a brief Skinhead phase, then I became a committed Soul Girl.  A passionate soul funk music fan, and I  enthusiastically,took on the idea of 'Black is Beautiful' part of an American Black Liberation revolutionary movement, and this new consciousness, took root firmly within in me. These ideas were further embedded, after seeing American films like Uptight and Cleopatra Jones, featuring many previously unseen charismatic, beautiful black actors, in afrocentric dress, black narratives about racism-the aftermath of riots and Civil Rights, accompanied by sensational, influential Black music.

Later I started reading books by Black Power Writers, Soledad Brothers George Jackson, Soul On Ice Eldrige Cleaver and If they Come in the Morning-Voices of Resistance Angela Davis. Discovering seminal works like,The Autobiography  of Malcolm X  Alex Haley and Frantz Fanon's Black Skins White Masks. Poetry was now also key, as I encountered radical Black Poetry in Leicester, in a pamphlet titled Black Chat,  produced by the local Black Peoples Liberation Party. This publication always had a fair amount of  incendiary Black Liberation-Revolutionary poetry, interspersed with equally fiery political articles, written by men and critically by women (all the poetry I learnt at school was invariably written by men).  My political awareness therefore grew exponentially.  Leading me to find the stirring words, of great orator and prominent Pan Africanist Marcus Garvey,alongside the Harlem Renaissance movement e.g.Caribbean Jamaican poet Claude Mckay's poem, If We Must Die or African American Poet Langston Hughes A Dream Deferred. In addition to the Negrititude movement, as translated from French speaking African poets, e.g. Leopold Sedar Senghor,and Aime Cesaire based in Paris.  

Over the following years, during my 20' ad 30's, my life long study of Black History/Herstory, continued to grow, largely as a result of Feminist/ Black Womanist and Queer studies. As I learnt about the achievements of Poet Phylis Wheatley, Underground Rail Road Slave Liberators, Sojourner Truth, Harriet Tubman, Jamaican Guerrilla leader,Nanny of the Maroons and African Resistance Fighters, Ya Assantewa of Ghana and Queen Nzinga of Angola. I went on to search out other Black women and men writers, poets, essayists and journalists.  African American ones, largely at first, e.g. Giovanni's Room James Baldwin,Their  Eyes Were Watching God Zora Neale Hurston, We A People Sonia Sanchez, In Memoriam: Martin Luther King Jr. June Jordan,For Coloured Girls Who have Considered Suicide When The Rainbow Is Enuf ' the very influential Ntzake Shangwe, Beloved Toni Morrison Pullitzer Prize winner,The Colour Purple Alice Walker And Still I Rise Maya Angelou, Zami A New Spelling of My name Audre Lourde, Jamaica Labrish Jamaican folklorist/ poet performer Miss Lou aka Louise Bennett,Tongues Untied Black Gay Mens Poetry Anthology, Poets Essex Hemphill, Assotto Saint both African American and Dirg Aaab -Richards who is Black British. Over time more Black British writers were read by me, that included, e.g. Black Theatre in the African Continium; The Theory & Praxis  Su Andi, Brown Girl In the Ring Plays Prose and Poems,Get A Grip Valerie Mason John (one of my most seminal influences a pioneer of Queer Writing), Connecting Medium Dorothea Smartt, I is a Long Memoried Woman Grace Nichols, Blood Shot Monochome Patience Agbabi,Trumpet Jackie Kay and The Fifth Figure Jean Binta Breeze. 

During the 80's 90's and over the last decade or so, I was very fortunate to either, meet  and/or hear readings of some of these selected Black women and men writers above.  Now I still find there are many other books I would like to read e.g. one written by writer, a Jamaican English woman, who I understand used to live in my home city of Leicester for a while, the book is 'The Unbelonging' by Joan Riley. The first Afro-Caribbean woman author, to write about the experiences of Blacks in England. All of these writers I have mentioned, made invaluable contributions to literature, of great importance and critical significance, and consequently,are a great inspiration to me as a writer.  All of the writers,social commentators, historical figures, the books, poems,publications etc.I referred to, all have in common,the fact that they have been groundbreaking, and wholly influential, in so many different ways, for a host of different reasons. I do hope others will seek the rich rewards, of seeking out their written material for themselves to read. For me they are giants, historical and literary colossi if you will, whose incomparable legacy i.e. are the very shoulders, I stand upon. They have helped shape my own dream of a better world and ignite my own literary imagination. 

Also taking part part in Writing East Midlands Blog Hop
 are as  follows:

Jacqueline Gabbitas – http://www.jacquelinegabbitas.net/

Carol Leeming – http://choreopoems.blogspot.co.uk/

Martin Parker  – http://www.silbercow.co.uk/

Liz Gray – http://lizardyoga.wordpress.com/

Beccy Shore – 

http://beccysblogforwritingeastmidlands.wordpress.com/

  . 

Triumph Joy & Elation Public Reading New Choreopoem by Writer Carol Leeming

 Thursday Oct 2 2nd 2014 proved to be an auspicious date to for the new  choreopoem -a dramatic monologue ‘Love the life you lie..Live the life you love .. written by Carol Leeming, a Creative Writing commission for Centre for New Writing Leicester University  part of the Affective Digital Histories Project.  Held at Embrace Arts, the event  fell on National poetry day and was part of Leicester’s Everybodys Reading Festival and Black History Season. Tickets for the event  were booked out well in advance, with a standby waiting list, such was the  level interest in this new written work.  A diverse audience were riveted for about an hour and after a short break there was a very lively Q & A  chaired by Bobba Bennett (Pinggg…K & Fall  Live literature Curator)  focused  around character voice, social issues raised, magic realism and sense of place. Also  what the next steps might be for Dare to Diva company in terms of further development/production, of this compelling narrative e.g..a play or a film etc along with feedback forms, which the audience  completed and were then collected. Read a review of event here:  http://ptreviews.blog.com/?p=208

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/