I was recently asked to be guest of the month for The PRS Foundationbecause my last commission was funded by the Women Make Music Award. Why is it important for these kinds of initiatives with pots of money to exist highlights the fact, that the imbalance in the representation of women in the music industry is very real. Its funds like this that give opportunities to artist musicians, like myself, spread our wings, to make journeys into the obscured treasure of their voices and then to put those stories and voices out into the world to inspire and galvanize others. These awards shift the imbalance so that audiences can have more choices about what they want to hear and have enrich their lives.
Gotta give a big shout out too Women Make Music!
“On 15th November at the Southbank Centre, London, Zena Edwards will be performing a new work written for the 21st birthday of Serious – the producers of the EFG London Jazz Festival (LJF). This work was supported through Women Make Music so we asked Zena some questions about her music and the new piece. Continue reading →
… an honour, blessing, and a straight up bligh of the greatest degree. To perform on the Queen Elizabeth Hall stage with Baab Maal, to have him compose music to your poetry, to sing on the same stage and have him say in his alert, bright voice, “Yes you. Very good, you are very good. You have much sincerity”… I am still reeling. Speechless. In the light of that performance, I shall be recording with Baaba, Lemn Sissay,Inua Ellams and TJ Dema this Sunday 29th July recreating the whole QEH event at a private studio session with friends. It couldn’t get any better(…or maybe it could!)
OK groupie attack over (just about), the reality is that I have been listening to Baaba’s music and following his story of Blood Line Royalty to Musical Royalty since the early 90’s and I would never have thought that Poetry could bring me to this place.
Lemn Sissayinvited myself and many other prestigious international poets as part of the Olympic Poetry Parnasuss to write to the theme of the journey of the African diaspora. Word Sound Power was the title of the event and I opted to write a poem based on Continue reading →
In March, of this year I faced a challenged I never expected. My own anger. I was asked to describe it, to critique it to make a creative pieces of spoken word theatre about it in collaboration with Dutch female MC Clara Opoku andSouth African Poet Mbali Vilakazi. The Three Furies project is commissioned in partnership byAfrovibesand MC Theatre, Netherlands.
We used the myth of the Three Furies as inspiration for our writing but the dialogue that arose between us and then with the audiences we shared our work with brought to light that women’s anger is almost a taboo subject – words like hysterical, time-of-the-month and b*tch come to mind as starters. How do women process thier anger when its not considered “nice” or “lady-like” to let rip? Where does it go? What do we do with the ensuing frustration if we do not channel it healthily? I explore these questions more on the Travelling Light blog and Clara, Mbali and I share our work on the THREE FURIES BLOG. Sharon Jane D. is a dutch visual artist who took our poems and interpreted them for film. Here warehouse studio space was enormous and full of nooks crannies and open spaces ripe for filming moody pieces and as locations for photography.
Here is a poem from the show. Hosted by the Albany in Deptford, South East London
On 26th Jan, I’ll be headling at SUPA FINE – a night of Spoken Word and Music accompanied by Jon Speedy from JSB, the soulful, dynamic, conscious poet Oness Sankara and the beautiful vocals of Bianca Rose. If you don’t know these ladies, it time to get to know, they’re some of London’s best female artists in their field. Click names for vibrant more info…
The venue The Hideaway (in North London) has high quality Italian food too, so you can book a table and enjoy the soul food of Poetry and great Italian grub
It’s £5 on the door but there’s a £3 concessions guest list, so drop me an email and I’ll put you down if you fancy it. This Continue reading →
In collaboration with Rolemop Arts the show had a clever promotion technique ‘Kimberleys Big Night Out’ – a fake hen night made into an installation and performance held at the Brighton venue ‘The Basement.’
I had a little extract, mostly improvised with jokes in mind but I explore the idea that trying to find confidence in the manipulation of hair is a complication, a distraction to finding true confidence and self esteem from within.
“FemFest was developed in response to my hearing from women playwrights that they were having trouble getting their work produced. It was clear that by not getting productions it was then harder to get more productions. We established FemFest to break this cycle and in hopes that by showcasing the work of women playwrights, more of their work would be picked up by other companies. We also set up FemFest to allow for a networking opportunity for these women. Having a place to come and share work, learn from other artists and just talk about being a playwright seemed invaluable at the time and
continues to be important. In the long-term we’d love to get to the point where women are being produced so much that we don’t need a festival to showcase them. We are working towards a day when FemFest is unnecessary, but we know that is a very long-term goal. For our immediate future our hope is to continue to find ways to offer women artists what they need most. We don’t plan to grow any larger but do plan to continue to explore new
initiatives to work with the community.”
Here are a few words from Hope McIntyre, the Artistic Director of Femfest, who took a risk and invited me to come to Winnipeg, Canada, and be artist in residence for FemFest.
It was an honour.
“It was an absolute pleasure having Zena Edwards in Winnipeg for FemFest 2011. Our theme was ‘Staging Inspiration’ and she certainly inspiredaudiences and emerging artists who had the pleasure of coming into contact with her.
Over 100 students at the University of Winnipeg Department of Theatre and Film attended a lecture she presented on her work. The students were engaged throughout the lecture and found it valuable in relation to their future career paths. Hearing about Zena’s journey, they realized that there are other forms of artistic practice besides traditional theatre and
they also learned the importance of experiencing the world they live in. Zena also facilitated Continue reading →
My role was to engage the `Young People (or YPs) with writing, with the narrative of a new young and black british government being elected when the country finds itself in complete in govenmental, economic and social crisis. Interestingly enough, the UK riots kicked off in the week leading up to my second session with them. It was a timely piece.
The process was incredible. On day one, many expressed an apprehension around their knowledge of politics, of even feeling like politics wasn’t something that was ‘for’ them, yet they were about to write a piece for performance solely about it. We needed to work fast and intensively. So with a series of strategically placed questions about what they knew to be happening in current affairs that very day, a few newspaper articles and writing exercises, the group were empowered, very vocal and ready to make this production fighting fit to tackle the themes of identity, belonging, power and change with a unique young, Black British experience. I was inspired myself at the energy with which they invested, how committed to finding themselves in the process.
Talawa’s YP theatre is making leaps and bounds in theatre for young voices. Adults, we need to listen up.
When Comfort Cydelle of ONIt Promotions invited me to be a part of an event called Leaders of the Old Skool, the first thing I thought was “about time”. Don’t get me wrong. Its not like I’ve been sitting around waiting to be acknowledged. But I was getting a little concerned at the trajectory the spoken word live scene was taking without recognising the graft of those who have gone before to make the scene have the possibilties that is has now.
The spoken word scene has exploded in London over the last 5 years and some of those poets who have gone before us are lost to those who are considered up and coming now. its a dangerous path to tread when you don’t know where you are coming from even when you are pioneering and forging new paths. I myself have to pay homage to Jean Binta Breeze, Linton Kwesi Johnson, Gwendolyn Brooks, Lemn Sissay and Dorothea Smartt for paving the way for likes of me as Afri-Cari-british poet, who performs her work and female at that.
Well, it was 14. The last friend who could not bear the loss of so many friends and took his own life.
On Sunday January 18 1981, a devastating house fire killed 13 young Afri-Caribbeans, during a birthday party in New Cross, southeast London. “Some were shocked by what they perceived as the indifference of the white population, and accused the London Metropolitan Police of covering up the cause, which they suspected was an arson attack motivated by racism; the protests arising out of the fire led to a mobilisation of black political activity. Nobody has ever been charged in relation to the fire.” – Wiki-pedia.
When asked by Rex Obano to perform for this event( Commemorations of the New Cross Fire, The Albany, Jan 14th 2011), the request alone sent chills from the soles of my feet to the top of my head. There is something about a tragedy of this sort that stirs the psyche, even without having to know about the colour of the skins of those who died. But there comes a strange anger that rises when the colour of skin becomes an issue for blocking the deserved expression of sympathy for the loss of such young life and the grief of the parent who lost their babies in a treacherous fire. Continue reading →