The Writery for Freeing Writers
For the past year or so I have been collating tips, techniques and quirky writing prompts to help stay inspired for my writing. When I think about what it means to be a free writer I refer to the writing exercise of free flow, some quality free association –. Imagination is valuable to us. It is crucial for a healthy mind. But sometimes it can get flabby as a muscle, can calcify because it is stuck in one motion of ‘thinking’ (?), Or it might need a prompt to encourage focus because of all the distractions the hectic-ness of life can bring. Sometime we just need little help to ‘free-up’ as creatives.
The prompt, tips, tricks, quotes, images are designed to shine a spotlight in the creative creases of your grey matter, to be dowsing sticks that find that gem of an idea floating in the creative slip stream, to be Frankenstein’s life giving machine, a jolt the heart of the imagination into action.
Its become a healthy collection, so I decided to open up the archive for those who feel they have a creative block at the moment, are a bit bored of their style and want to try something new, or if you just need a kick start. Have a browse and comments and requests are welcome!
Our imaginations have never been so challenged in the 21st Century. Have we ever been as cornered by thoughts of our collective mortality outside the age of enlightenment in relation to the global economic and political climate as we have been over the last 16 years. Science has promised us the GM cures for disease, our continued life on this and other planets as well as bionic bodies, cryogenics freezing and the growing of body partsin petri dishes and on the backs of mice.
But in the race to reach the forever disappearing finish line of immortality, and despite the intricate and omnipotence of the interweb of handsfree communication and connection, we have never been so connected to each other and yet so disconnected. Our Continue reading “Human Code Computer Tongue”→
“Legacy” – Writing to make footprints that won’t blow away on the wind
This goes without saying when it comes to the arts.
I have been involved in youth arts (via writing and performance mainly) since 2000 and its youthful voices that re-imagine our worlds, the physical and emotional world, the fighting and resting world, the dying and living world. A world forever in creation.
When we have creativity in our lives we can anticipate wizened voice resonating with plenty stories behind simple words we might hear. When we must practice our creativity (and if you intended to make it a career) why not look to the purpose of why you would want to use the word, spoken or written as a medium to represent you, your life and sense of purpose. Continue reading “Legacy – Step One in Being a Freelance Artist”→
Birmingham with Beatfreeks on Wednesday 27th July.
“How do you find your inspiration for your work?” is the most frequently asked question I get as a writer who performs her work. I can’t deny I am often stumped at the question. I trawl my brain for the one thing but it just doesn’t work like that. I’m only sure of a couple of things though – the world is full of inspiration and my gut and my heart have conversations all the time about the abstracts – love, conflict, relationships, frailty, resilience, environment, discrimination and power. Or that centrifugal spin of a coffee cup falling. That tense exchange through eye contact on busy public transport. A door held open for an Elder. The truth out of the mouth of babes. Continue reading “Verbalisation with BeatFreeks at BRep”→
I am sharing this Facebook post from a choreographer, artist and brilliant thinker friend from Nigeria. It was the passion behind his words that pulled me to do a quick google search about this New Artists Village space he speaks of. I understand why his fury flames.
“On Saturday, the Artists’ Village at the National Arts Theatre was demolished based on orders from the Director of the National Arts Theatre.
The government’s position is that the Village had become a hive for illegal and illicit activities. The artists on the other side dispute that accusation and claim the government has less than pure motives for their actions including possible commercial use of the space versus the current free art space.”
Collectives of artists create homes that become their sanctuaries, their laboratories, sacred spaces of communing and creating, hubs for innovative and dextrous think-tanking for new worlds through art, pathways of resistance and artistsic bootcamps to decolonise of minds and heal societies are conjured in those homes. The bricks and mortar of these homes hoard memories and songs for the future. They can be gentles spaces. Spaces for fury and tough love when they hold up mirrors to those who oppress the already oppressed in the name of free thought, freedom of expression. Artists are not (and/or should not be) afraid to chastise and be chastised if the integrity of their work has dubiously become a manipulative tool for oppressive, repressive or stagnating status quos. It is rigorous critique that keeps things fresh: let’s keeps it moving. But ultimately, spaces found and nurtured by artists are formidable in their power to inspire and it is those powerful fountain well-springs of inspiration that frighten the status quo.
“MINDING THE PERCEPTION GAP”
– a 9 part video critique and commentary of UK arts and its issues of ‘diversity’ – Case study Exhibit B
I have never embarked on a homespun project like this before. Filmed in my front room over a week with shifting light. As the week went on I became a little obsessed with the content. I had been frustrated and concerned about the hiccups in my artistic vocational trajectory and what my next moves were as an artist in the UK for a while. I felt I had been moving laterally for a few too many years. In fact, in the draft box of my wordpress account I had an edit of a blog post called “Race in the Arts” started in 2012 attempting to articulate my troubled sentiments on being an artist of colour in the UK. Then in 2014 came ‘Exhibit B’ and the #BoycottTheHumanZoo campaign. What I had needed was an aggressive catalyst and the events unfolding around the campaign were certainly that.
(If you don’t know the art installation Exhibit b, take a look at the Video 2, Part 2 – The Set Up below). Continue reading “Perception, Power and Race in UK Arts”→
What does it mean to be an Artist of colour, an artist on African descent in the UK?
Late 2014, I wrote a blog post in response to the South African theatre-maker Brett Bailey at the height of the UK controversy over his piece, ‘Exhibit B’.
A year later, wanting so much to create something around how black and brown artists are censored in many spaces and at many levels in the process of a piece’s inception to its full production, I made an explorative film about the discrepancies and damage being done to the arts in programming an artist like this.
‘Diversity’ and representation are just the tip of the iceberg in the ongoing and stuttering discourse about race and the arts in the UK.
Writer, performance artist, project developer and educator Zena Edwards scratches below the surface to speak about *perception* and its role in the “diversity” conversation in UK arts.
Full video exploration – Wednesday 18th November 2015
Recently, I was commissioned by the British Council to interview two poets from South Africa. What was interesting was learning two very different approaches the service of spoken word or poetry in performance can offer the artist and the people who encounter this rich literary form. Mongiwekhaya is a subdued, potent spirit. His quietly considered answers focus on his thoughts about arts and community engagement producing work that is esoteric in its political and social commentary. Thabiso aka Afruakan’s enegry is spark driven to build networks for repurposing and trading the craft for an arts infrastructure to support artists to continue their chosen vocation. Both were very spirited and inspiring skype conversations that ran well over the 30 minutes time we’d put into each of our diaries.
“I was raised by my Grandmother from birth. I spoke with her words and her tongue and walked the streets of Witbank Township. But one day my parents returned from their travels overseas, collected me and took me up into a silver bird, and we, my sisters and I, were laid on a new earth. No one spoke my grandmother’s tongue. The child that spoke with any and everyone, found himself a ghost in a new place. He told himself little stories to remember himself. But eventually he told himself new stories. In English. And was reborn as someone new.” – Mongiwekhaya
Playwright, filmmaker and Royal Court writer Mongi Mthobeni (pen name, Mongiwekhaya) is a hardwired storyteller and the above quote wasthe story he told at the opening question of his interview with Poet and Writer Zena Edwards, when did he know he had chosen his life and career in the performing arts. His natural gift manifests itself today through directing and visual storytelling and his short film project, “Speed of Dark”, reveals a mentoring quality to his creative process when he engages with young artists too.
“Speed of Dark’ is adapted from a dance piece called “Open Happiness”, embracing the wonder South Africans felt about the construction of South Africa’s Underground train – The ‘Gautrain’. I started by introducing the young movement artists to the prolific works of Tom Waits, rich with storytelling. Then introduced them to the theatrical form of the French Buffoon and clowning, the ritualistic shamanic performance of repetition to compound the feeling of awe South African’s felt in a time of economic transition.” Continue reading “Writing Two Poets – Mongiwekhaya & Afruakan”→
Thank you all for the phone calls, notes, emails, tweets and Facebook message of support we have received regarding the racial abuse we were subject to on Monday 25th May, 2015.
On what was supposed to be our break on a Bank Holiday, it was with great shock and much sadness that we were called to work to see a disgusting piece of graffiti scrawled upon our very own walls. It was a disappointment to us to realise that someone could go out of their way to be so disrespectful and to have the gall to express such prejudice in public. There is no place in this community for such prejudice whether race, religion, sexuality…. NONE! London is such a cosmopolitan city, which makes it so special.
What we know and stand by is, that the culprit(s) actions do not represent the general feeling of the Herne Hill community.
We have received so much support from so many that we really and truly feel inspired and hopeful in a situation which frankly left us bewildered, violated and down-heartened. On the very day it happened, we had one very kind neighbour lend us some sheets to cover the obscene language, and since then a stream of well wishers checking that we were OK. We have been inundated with encouraging messages to focus on the good that we are doing, rather than the negativity of the incident. We appreciate your continued support.
To thank you all for your support, we have an open bar on Thursday, 4th June from 1800-2000 – we are putting on some entertainment by inviting the hosts of our comedy and poetry night, to put on an event of fun and laughter.
We look forward to seeing you and THANK YOU again for all your support.
The Dee Dee’s Team”
The above letter is from the owner of a Bar in a well-to-do area of London called Herne Hill. For mainstream media the racist intent of this attack has disappeared down the ‘blackhole’ of invisibility and erasure as most outcries and reports of racism do. Remember, it took almost 20 years for Doreen Lawrence to receive some sort of Justice for the racist murder of her son Stephen Lawrence. And all too often when racism is called out, those on the receiving end ie. the Black and Brown folk, are challenged for calling ‘the race card’ or ‘reverse racism’. This blog post is not the time to go into the depths of this distorted perception and psychology of what racism actually is as, right now, I want to speak about how this bar is symbolic of a complex set of issues that require a level-headedness almost devoid of emotion. Yet to the contrary, this attack seems to be all about rousing angry emotions. Dee Dee’s team have remained dignified and have moved with integrity every step of the way to reach a conclusion in favour of justice and equality.
I did not know of Dee Dee’s until I saw a Brixton Buzz article online about the racist graffiti. I went down there because a friend was performing with her band and to show some solidarity at the same time. When I heard what had happened and a few of the events leading up the graffiti appearing, I was appalled (and hurt for them) and came back the next day to talk to the manager and owner to (maybe) get a few words, documenting yet another incident of racism in a “post” racist UK. They gave me an extended 2 hour interview I thought might last just 30 minutes. And I’m grateful for that, as they had been talking to no press because of other complications around the investigation, trapping them under the threat of “incitement of racial hatred”, the police have told them. I shall explain in later blog. It’s incredulous. So they didn’t have to trust me. I’m a stranger, rocking up with a camera and a recording device.
Since, I have come to appreciate the Love people have for this space and as an artist, I understand the value of space. Gentrification is killing spots like Dee Dee’s. Let that be duly noted. But this is overt and aggressive prejudice. This event adds another sinister edge development programs are not considering. But they should.
There is no obscuring the nastiness of this appalling display of bigotry, not even behind the black paint that now covers it. However, despite this, the media managed to find an angle to deflect attention away from the harm and damage done to a people and their property that did not deserve it, shifting the focus to an initial possible suspect, the police say they are no longer investigating and who I will not give any more air time. Click here to read more. The owner of Dee Dee’s has expressed great concern for his staff – will this happen again? Will it be a physical act upon one of his staff as opposed to property, if there is a next time?. Something does not sit right.
There are conversations on social media you can follow here, also here, and here, about the investigation and the statement by the initial possible suspect in general – police are not pursuing the culprit, an obvious hot lead has not been investigated, Why did a local school headmistress say that the graffiti was a photoshopped fabrication? There are so many unanswered questions I will go into on a later post.
But right now, with an indomitable spirit, Dee Dee’s are opened for business as usual and on Thursday 4th June made a special event of performance and a 2 hour open bar to thank all their supporters. I went. It was heartwarming to see locals and some who hadn’t been before relaxing, enjoying the vibe and speaking out against racism.
Nuff Respect Dee Dee’s. More Power to you.
Listen to testimonials from those who came to support on the day.
Song: ‘She’ written and performed by Sian Roseanna Facebook & Twitter: Sianroseanna
Here we go again
Here we go again having to justify our existence
Here you go again with your colonial irrelevance
White spray on black walls
As if we our skin was still
a canvas upon which to paint your hate
But you underestimate the power we create
with words, with song
And Laughter, a joyful throng
Come together with Love for Unity
that rights a wrong
In the balance of karma
And in the light of knowing
the darkness in which your hate dwells
I wish you well, because as Marley says,
‘Oh, Time alone, Time will tell,
you think you’re in heaven
But you’re living in Hell.”
The present modes for dialoguing about race in the arts served a distinct purpose up until the mid nineties but now they are clunky, many are obsolete in their effectiveness. People of colour are interrogating and refreshing their arts practice all the time but receiving fewer opportunities to flex their creative wings on large mainstream platforms proving quality work from the diaspora abounds. As a black woman artist and a consumer of art I belong to a demographic who notices the stinging pattern when a certain ilk of artists get fast passed and supported – the prompt for this post is a white male South African making theatre performances, predominantly using the black body and its stereotypical objectifying tropes. That fact this artist is hailed as South Africa’s ultimate theatre baby is troubling. So I supported the #BoycottExhibitB and #BoycotttheHumanZoo campaigns.
Although this initial letter is addressed to Brett Bailey, it is more a reflection, an analysis and comment on the arts world, highlighting how artist like Bailey and his supporters actually engage with conversations around race and arts practice. I would like this response to be considered a push back, making transparent how (t)his type of dialoguing about race and art is forced upon many black and brown arts makers, and how we receive it. There is a habit of marginalisation in the processing of diverse work that so obviously needs to be broken because negotiations lacking genuine structural and attitudinal shifts for positive change fail to bring about balanced representation in the arts world. And I want to talk about it some more.
Mr Bailey, I do not know you personally but I know some of your work which makes heavy use of the black body as objects for your creative and intellectual expression. I also understand that you have intended to make a piece of work framed within the disturbing actuality of human zoosentitled “Exhibit B”, excavating the dark, twisted annuls of brutal white supremist colonial history in Africa and of Her Diaspora, despite objectifying potentiality and result. In interviews, you have claimed honourable intentions with this piece of work which can be summarised as highlighting and creating dialogue about the atrocities white European colonialists have committed over centuries.
After reading subsequent interviews it is revealed, on multiple levels, your lack of understanding of the deeper subtexts of your creative and directorial choices in Exhibit B – resonances that exist in white privileged blindspots that only experience can authenticate. It would be a huge failing and a brazen display of privilege if you attempted to refute that. And I don’t believe you will. Continue reading “Boycott an Art Exhibit – Race and Art – Open Letters: 1”→
Last year I was commissioned to make a series of visits to read to some potters at the Whitechapel Gallery. My readings were a part of the Visual Artist/Performer, Urban Planner and Activist, Theaster Gates, Soul Manufacturing Company for The Spirit of Utopia exhibition.
This interactive installation was an extension of the Gates’ previous works at the White Cube Gallery earlier in 2012 – “My Labour is my Protest.”
The Soul Manufacturing Company exhibition interrogated the notion of the value of art and was an oblique but very classy tongue in cheek critique of the art world – “who or what gives value to a piece of art, how does the institutionalized canon of opinion in valuing the making of art maintain itself and what questions can be asked about the labour of the hands that make the art?
Six ceramicists were commissioned to make the simplest Japanese style bowls and cups and hand-made bricks from a basic clay as if in a factory production line every day for 8 hours a day. Hundreds over 10 weeks were made. The destiny for these objects seemed to be a bit of a mystery and in vein with how Gates works. They will be shipped back to the US and what they will be used for is being held close to Gates’ chest. Right now, let’s make pots.
“He who works with his hands is a laborer.
He who works with his hands and his head is a craftsman.
He who works with his hands and his head and his heart is an artist.”
― Francis of Assisi
So, we made it through 2013 in pretty much one piece. Now, to continue the quest to thriving.
As I’m a freelance, self managing artist, I need to have work strategies in place for the fractious haggling of time and energy between the needs of the artist-self and the independent arts business manager/agent-self (she’s a stubborn-jawed entreprenuer <- what the personality my artist-self needs – an innovative somebody who is fearless and on her side in the business realm). Sometimes a cold war exists between them though, nothing gets done and procrastination wins the battle. Some days I am in the negotiating room for 8 hours just to survive another day, diplomacy sweating and hoarse at the table. Continue reading “Parenting the Artist. Giving the Artist’s Manager a Break”→
I have stayed away from Facebook over the last few months because it had nothing for me. Don’t get me wrong, I still love my true friends on there and have love for acquaintances, and I like to stay in the loop about the vibrant city I live in called London. But my own purpose as an artist and thinking person seemed to be open to constant interrogation. Not troll-age (made up word) or criticism but a unpicking of my intentions. I like to think I don’t take these things too seriously but it was wearing on my nerves more than anything. FB used to be place I could go to for debate and info-tussles, intellectual horn-locking and splurges of frivolous merriment. It now seems to be a place where FBers can exercise their anxiety at the paradigm shift the planet is going through. I watched people become more conservative and bigoted. Those who were normally outspoken become more timid, posting flowers and fluffy inspirational quotes that are from others and not from themselves anymore. I’ve also observed others step up their game with more defiant, revolutionary quotes. Its a fascinating, ongoing. The UK summer insurrections 2011 illuminated the beginning of this tide turning, for us in the Britain anyway, and was a sure marker that the Con-Dem governments austerity measures had kicked in and people were starting to wriggle in the tight squeeze they’d been cornered into. Everyone.