Author amyrhall

Chto delat? – The Urgent Need To Struggle

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First appeared on Ctrl.Alt.Shift on October 22 2010

The event: Chto delat? (What is to be done?) – The Urgent Need To Struggle
Date: October 9 – October 24
Location: Institute of Contemporary Arts, The Mall, London, SW1Y 5AH
Price: Free entry

This project has been created by Tsaplya (Olga Egorova), Nikolay Oleynikov, Gluklya (Natalya Pershina-Yakimanskaya), Nina Gasteva, Vladan Jeremic/Rena Rädle and Dmitry Vilensky…

A dream for any political and cultural theory geeks; this exhibition even comes with a handy reader – a newspaper of texts to help further your understanding of the theoretical ground the artists have started from but can still be appreciated by those looking for something less involved.

‘This exhibition… tells the story of the struggle of ‘ordinary’ people against the government, the authorities, oppression, inequality but also the feeling of hopelessness that can engulf activists at their low points…’

The Urgent Need To Struggle is a modern take on old school leftist principles, which, as history seems to go round in circles, are still relevant today. It gives a series of thought provoking proposals on varied movements and works to unite cultural workers and all working people together in their struggles, rejecting any perceived artists’ pretention.

The view of artists as part of the wider workers’ movement is central to the work of Chto Delat, the platform of artists and thinkers who created this exhibition, and was “founded with the goal of merging political theory, art and activism.” They take their inspiration from revolutionary Russian working groups and basing their work on principles of self organisation, collectivism and solidarity.

These principles are immediately recognisable in this exhibition which tells the story of the struggle of ‘ordinary’ people against the government, the authorities, oppression, inequality but also the feeling of hopelessness that can engulf activists at their low points…

The room’s strong red, white and black colour scheme hits you instantly as does the main focal point: A cinematic screen faced by ascending double beds, an installation that wouldn’t look out of place as a bedroom on Cribs. There is also a viewpoint where you can attempt to sing a song called Partisans Forever – in Serbian – along with a video of people in white boiler suits. The walls are decorated with pages from the reader, an issue of Chto Delat’s paper, quotes from well known leftist leaders and images from the films that make up the main depth of the exhibition.

The amount of film content means the exhibition needs time to be explored fully. Each short film or trailer centres on a different struggle, many are bizarre and abstract fiction; whereas others are simple documentaries or a series of stills with commentary. Although many of the issues explored are very much in he present, history never feels that far away.

Chto delat have presented a valid and useful series of thoughts on the position or art in activism and the importance of cultural workers in the wider workers movement, although I can’t help thinking that some of the more conceptual representations of struggle, such as the musical films, echo exactly the type of pretetion they are trying to avoid.

The Urgent Need to Struggle is central to the Institute of Contemporary Art’s (ICA) current season titled ‘Dissent’; in which they ask whether culture can be a site for protests in a time of economic crisis. The season has included numerous events including talks and debates and a big focus on film with an artists film club and the regular screening of Collapse from American director Chris Smith.

Hollywood Humanitarians: Help or Hindrance?

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First published on Ctrl.Alt. Shift on October 15 2010

This month Sean Penn is awarded the Hollywood Humanitarian Award for his work in Haiti… but exactly how much good can celebrities feasibly do in helping resolve desperate situations around the globe? More importantly, do they do it for the right reasons? Ctrl.Alt.Shift’s Amy Hall explores the impact of the humanitarian celebrity…

Despite getting a lot of criticism for their flashy lifestyles, many celebrities do take an active interest in charitable work. While the more cynical among us may accuse the rich and famous of using charity work as an effective (but immoral) means of gaining popularity, there are evidently some big names out there who genuinely care about the bigger picture. Ctrl.Alt.Shift ambassadors like Riz Ahmed are entirely dedicated to using their popularity for a good cause, proving that fame can be utilised to put across a positive message to an already captive audience.

Angelina Jolie and Brad Pitt are the latest Queen and King of the celebrity humanitarian world, but almost every celebrity has some kind of charity or campaign work they’re involved with. Whether it is George Clooney’s efforts to stop genocide in Sudan or Rhianna’s ‘Believe’ foundation which helps terminally ill children, celebrities the world over are doing their bit to prove that compassion is cool.

Of course, the actions of celebrity humanitarians like Penn to raise the profile of worthy causes are extremely commendable. The worrying thing is that it can take the glitzy power of celebrity to inspire us to sit up, take notice and act’

These caring celebrities are, unsurprisingly, always looking for ways to publicise their cause, and maybe it’s time we gave them a pat on the back for their efforts. This is where humanitarian awards ceremonies come in handy – all the glitz and glamour of a typical award ceremony, but with no need to feel guilty at the extravagance entailed. It’s for the good of humanity after all. Hmmm…

Awards ceremonies that acknowledge the charitable work of celebrities are becoming increasingly common, though perhaps one of the most glamorous among them is coming up on October 25. The Hollywood Humanitarian Awards are part of the Hollywood Gala Awards Ceremony at the Hollywood Film Festival in Beverly Hills, an important date in the diary for any self respecting celebrity do-gooder.

This year’s Hollywood Humanitarian has recently been announced: none other than two-time Oscar winner Sean Penn. Penn already seems to have proved himself as an all round good egg; acting as a roving reporter from troubled regions like Iraq, and even covering the election protests in Iran. His CV also boasts interviews with Venezuelan President Hugo Chavez and Cuba’s head of state, Raul Castro.

This latest accolade Penn received is for his work in Haiti, following the earthquake which devastated the island at the beginning of 2010. Penn founded the J/P Haitian Relief Organization which focuses on providing medical aid, protection and relocation to Haitians affected by the quake. Penn seems to have been developing a special relationship with the country, and has even been knighted by Haiti’s President Rene Preval.

Of course, the actions of celebrity humanitarians like Penn to raise the profile of worthy causes are extremely commendable. The worrying thing is that it can take the glitzy power of celebrity to inspire us to sit up, take notice and act.

The sad fact is, the technicolor mages of suffering in developing countries that the media beams into our living rooms on a regular basis can often feel profoundly detached from our own lives. Perhaps it can take a celebrity to bridge this gap, to utilise their charisma and familiarity to show us the inherant similarities between ‘us’ and ‘them’. Videos of celebrities visiting places like Africa form an integral part of high profile charity appeals like Comic Relief, and compel people to pick up the phone and give money to people half way across the world.

However, a celebrity endorsement does not solve everything. It seems that issues of international development are as vulnerable to the fickle, fast paced nature of the global media as the celebrities themselves. When a story becomes less newsworthy, many desperate situations and worthy causes are dropped from the agenda and the urgency seems to dim; there is a new disaster to respond to, a new crisis somewhere else.

It seems that issues of international development are as vulnerable to the fickle, fast-paced nature of the global media as the celebrities themselves’

Once the initial media flurry around a disaster, a crisis, or a desperate situation has died down, money, support and a constructive and sustainable action plan for the future are still required. In Haiti, the pieces still need to be picked up, and a plethora of organizations are still working on this, including Penn’s J/P Haitian Relief. It seems that issues of international development are as vulnerable to the fickle, fast-paced nature of the global media as the celebrities themselves.

The cold hard truth remains – it’s going to take more than monetary hand outs to solve global poverty.

Poverty is the result of human structures and systems. It is the product of marginalisation. It is what happens when people are excluded from decision-making processes. Celebrity endorsements can bring a rush of money to a specific community or location, but if the way in which this aid is delivered isn’t well considered, the charitable act can be more detriment than development.

Celebrities are pretty stuck. If they don’t give money to good causes they are accused of not helping and greedily hoarding the millions to themselves. When they do act charitably, they’re accused of glory hunting, trivialising the cause, or even causing more harm than good.

In today’s media saturated, glamour obsessed culture, maybe it’s inevitable that celebrity culture seeps into every part of our lives. If these Hollywood do-gooders actually manage to do some good then why should we complain? And who knows? Maybe in the not so distant future we’ll see Hollywood stars battling it out to become the Most Humanitarian instead of the Best Director. Regardless of the image the red carpet snaps or award show reviews portray, it is the international charitable organisations, and the vulnerable communities in developing countries themselves, who truly have the power to christen ‘the celebrity humanitarian’ a help or a hindrance.

How To Be A Raconteur

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First published in the June 2010 issue of Buzz Magazine

Michael Harvey, who will be appearing at this year’s Beyond The Border, is a veteran in the art of spinning a good yarn. He explains how you too can be the envy of any dinner party.

STEP 1: Get inspired

Go to a festival like Beyond The Border, and keep an eye out for other events. There’s a really nice one at Milgi in Cardiff on the third Tuesday of every month. It’s really friendly and includes floor spots from professional and upcoming storytellers.

STEP 2: Develop existing skills

The social world gives you all the storytelling skills you need and if you work with the skills you have you get an original, unique performance. Looking for stories to tell can be a lonely business so it can help to buddy up with someone like minded, starting with collections of folk tales and mythology.

STEP 3: Find a good location

Start at a level that isn’t going to freak you out, amongst friends. Telling stories outdoors is beautiful, and you need a place with character. Informal seating is good too, because if people cuddle up or sit wherever they want then they are much more relaxed and open.

STEP 4: Pretend adults are children

Kids taught me everything I know, but adults can be harder because their faces are more closed and their resting expression can look a bit grumpy. But, if I convince myself that inside there’s an eight-year-old child, and I start telling a story to that child, then their faces soften, and they become more open and responsive.

STEP 5: Work through stage fright

Everyone gets nervous; it’s just that when you get experienced, you just call it excitement. If you feel you’re using the audience, slow down, calm down and rest in the story. Think about the physical sensations – what the story looks like, what it sounds like, what it smells like; a story can be as real as a memory.

Neath Ales Brew Beer With Menace

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First published in the June 2010 issue of Buzz Magazine

“Dark, foreboding and full of menace” is how Jay Thomas describes Neath Ales Black, his favourite of the ales his one man brewery business produces. 34 year old Jay operates out of a secret Neath location and set up the business after being made redundant from his job as a sociology lecturer. The brewery is the first in the area since the Vale of Neath Brewery closed in 1972.

Jay runs the business on his own managing everything from marketing the brand, brewing the beer and bottling up the product, but he says other members of the family still manage to get involved. “My poor retired father can’t keep away and I only have to pay my four and two year olds a couple of jelly beans to clean for me. Don’t tell social services!”

Like many students looking to save a few bob and try some experimentation, Jay started brewing beer while at university as he was fed up with mass marketed, bland lagers and fancied trying something different – and a little stronger.

Premium bottled beers have increased in popularity over the last few years with drinks companies seeing increased profits in this area of the market. Jay puts this down to people becoming savvier about big businesses telling them what to consume. “You wouldn’t go into a restaurant and ask for the most insipid, lowest quality thing on the menu, so why do that when you go to a bar?” he says.

Neath Ales are made lovingly with no additives and are all vegan friendly. Just Welsh water, malted barley, whole hops and yeast are included. The beers are matured for many weeks until they have reached Jay’s high standard and can be found in many shops in Neath, Swansea and the surrounding areas.

Although running a business single-handedly is a challenge, Jay says he is in it for the long haul. “It is an awesome vocation and one into which the true heroes will venture. As for taking on big big biz with their hundreds of millions of pounds advertisings might, bring it on.”

Beyond The Border – Festival Preview

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First appeared inthe June 2010 issue of Buzz Magazine

Beyond The Border International Storytelling Festival, St Donats Castle, South Wales

Fri 2-Sun 4 July 2010

Back in the days before the internet, mobile phones and even books, people used to actually talk to each other. When they ran out of gossip about whose sword was bigger than whose, they would recount tales of generations gone by.

The tradition of storytelling still thrives around the world, including a vibrant scene here in Wales. Old myths and legends are retold again and again, sometimes with modern adaptions. Many of these storytellers from across the globe will be gathering in Wales at the UK’s leading storytelling festival Beyond The Border in July. The festival has been running since 1993 and attracts thousands of visitors a year, as well as running a programme taking storytellers into schools and workplaces all over the country.

 This year’s festival features over 20 storytellers from as far afield as Canada and Egypt. There is also a strong Welsh connection, including Celtic mythology from the {Mabinogion} which will be retold in words, music and song.  Welshman Osian George will be performing with trio Bro Ar Men (Land Of Stone) led by Brittany’s Pol Huellou with Armenian Vasken Solakian. Wales loves nothing more than a good male voice choir, and Beyond The Border is being treated to the Republic of Gerogia’s Mtiebi performing on the Friday of the festival.

The storytelling takes a saucy twist with late night adult-only performances, including stories from Boccaccio’s naughty Decameron and some erotic late night stories about ancient love goddesses Aphrodite and Innana told by Xanthe Graham.

The festival features music from exiles Kotchnak Ensemble, a family of singers from Armenia, now living in Paris who first began making music in 1976. Also performing is Ahmed Muhktar from Iraq who is renowned for his playing of the oud, an instrument similar to the lute. He will perform as part of the Nights In Baghdad programme which includes Egyptian Chirine El Ansary telling the stories from the author of 1001 Arabian Nights, Robert Irwin.

Beyond The Border provides a window on the world past and present and with every yarn festival goers will be transported somewhere different.

dan le sac Vs Scroobius Pip // The Logic of Chance

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First appeared on Never Enough Notes on August 10 2010

 Released on March 15 2010 on Sunday Best

The Logic of Chance is a collection of wise words on topics such as ‘Broken’ Britain, domestic violence, love and the perils of writers block for rappers.

Always recognisable and undeniably British, dan le Sac and Scroobius Pip create modern poetry, with an edgy soundtrack, The Streets for a new generation.

The duo have never skirted round issues which can put people off who think that music doesn’t need such obvious social content but it is always refreshing to hear artists that are not afraid to speak their mind. For every fan this may loose them there is probably at least one more that not only enjoys the music, a fast paced mix of electro, hip-hop and drum & bass, but also the viewpoints explored.

One album highpoint: ‘Cauliflower’, is a combination of Scroobius Pip’s spitting South East accent with the sweet and pure voice of US singer Kid A telling the story of a beautiful whirlwind romance with illustrative lyrics such as “still got a cauliflower ears from where her voice first hit me”. Such lyrics are what makes dan le Ssac Vs Scroobius Pip worth a listen, playing on modern references in a poetic way while staying funny and clever.

The duo seem determined to ‘make a difference’ and get through to people but it is hard to see how the kids a lot of it it is aimed at will ever hear these tracks. The Logic of Chance is their second full album release and although they have a lot of respect in certain quarters they are yet to break into the mainstream as is the conundrum that many artists challenging ‘the man’ find. Reach out to as many people as possible while possibly compromising on your music or lyrics or resign yourself to the background until the world is ready. Until then dan le Sac and Scroobius Pip are ready and waiting, discussing a very British state of affairs.


9/10

Drum Eyes // Gira Gira

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First appeared on Never Enough Notes on August 7

Released on September 9 2010 on Upset The Rhythm

Gira Gira contains the kind of music that needs to be listened to after years of progressing through ‘relatively hard core music’ fan badges. For those who, like myself, only ever progressed to the hardcore music equivalent of the 25m swim badge this album could be difficult after repeated listening.

There is no denying the enormousness of this record, arranged like a soundtrack Dr Who makers would envy. Every instrument is played to within an inch of its life, with drums pounding prominently all the way through. As the monster awakens with opener ’50-50′ it builds to a ferocity which is futuristic and full of drama, providing a score to a scene where I imagine Drum Eyes stepping off their mighty space ship guns blazing and bullets flying everywhere in slow motion while they look menacingly on.

‘Future Police’ has keyboards that sound like a frightening Nintendo game, an intensity that continues throughout the rest of the album, which although it is only six tracks long does not leave you feeling short changed. Gira Gira is not just pure noise: there is melody, texture and some heavy beats giving a rich variety of sounds including a heavy metal edge on the track ‘Future Yakuza’.

The album is a far cry from the usual franticness of DJ Scotch Egg, the Japanese gabba music producer who heads up this collaborative side project along with members of bands including The Boredoms and Trencher. Gira Gira is straight up angry, psychedelic and slightly scary ear busting tracks, a thirty five minute assault on the senses. The intensity can be too much, but the question is: Can you handle it?

8/10

Paolo Nutini and Martha Wainwright

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First appeared on Never Enough Notes on July 16 2010

Live at the Eden Project, Cornwall on July 2010

Eden Sessioners are massive fans of what they know and what they like. But if they’re not sure, they’re more than happy to just have a chat with their mates which is something that Martha Wainwright has had to cotton onto tonight: “I would talk to you but I don’t think I need to, there seems to be a lot of talking going on away” she says wryly.

After a day of sporadic torrential rain, the sun has come out for tonight’s main acts, the first of two sold-out sessions from Paolo Nutini and Martha Wainwright. It is the season finale of an epic set of gigs that has seen acts from Jack Johnson, to Mika, to Doves play in the futuristic Eden Project setting.

Wainwright starts minimally with acoustic tracks including the beautifully executed ‘This Life’. The band then melt on stage for ‘Bleeding All Over You’. There is a tranquillity to Wainwright’s set and although the crowd is chatty they still seems to be listening intently. This gig is part of her ‘Martha Sings Piaf’ UK tour and she plays three of these songs now, full of passion, dedicating one to her mother, Kate McGarrigle, who died at the beginning of this year.

This along with the premature birth of her son Arcangelo has meant that Wainwright has not had the easiest 12 months, the fact that she is back on tour and delivering great shows deserves to be highly commended but a lot of this emotion is lost here.

In contrast, Paolo Nutini springs on stage vibrant and full of enthusiasm to a crowd screaming with excitement, flanked either side of his set with the dramatic theme to The Godfather, perhaps a reference to his Italian ancestors.

Unlike many chart favourites the 23 year-old singer songwriter shows he deserves to be taken seriously as he moves effortlessly moving between reggae, soul country and pop, his band is also very adaptable. Like Wainwright, he plays a smattering of covers including a version of MGMT’s Kids and a song from Jamaican reggae star John Holt.

Despite his slightly worse for wear appearance Nutini has obviously planned this set well, saving one of his biggest hits ‘Last Request’; to the encore, the perfect ‘lighter moment’ with the same stillness that marked his performances of tracks such as ‘These Streets’ contrasting the vibrancy of ‘Jenny Don’t be Hasty’ and ’10/10′.

The show is very impressive, the whole band are giving it their all; there is some skilful VJing and lighting. Although he makes the odd mistake, Nutini’s loveable rogue smile and laid back manner means that the audience is putty in his hands and he seems to reciprocate this positivity along with a sense of awe for Eden’s futuristic setting he leaves the stage with “I love you Jurassic Park”.

8/10

 

Johnny Flynn // Been Listening

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First appeared on Never Enough Notes on July 12 2010

Released on June 7 2010 on Transgressive Records

Mr Flynn is back, and this time he is in the midst of the annoyingly labelled ‘nu-folk’ heyday.

First cutting his performing teeth playing fiddle with Emmy The Great, Flynn will be touring the UK when he and The Sussex Wit provide support for Mumford & Sons in the Autumn. He has also created a small YouTube storm with Laura Marling covering Jeffrey Lewis and Diane Cluck’s ‘Travel Light’, scoring over 237, 000 views. Marling and Flynn also collaborated on Been Listening for the song ‘The Water’, which sways mournfully like a small boat bobbing on lapping water.

Former single, ‘Kentucky Pill’ kicks off the album: guitar plucking and horns, full of sunshine. Chronicling the twists and turns of life in a light and airy way, songs like ‘Churlish May’ show why folk really is the best genre for telling stories and it is obvious that Flynn is a natural at bringing a story to life.

Although the music seems to be simple, the classically-trained musician also comes through in the drama and colour created by the music. The strings and brass add excitement and Been Listening is a slight departure from the more traditional debut, A Larum which was released in 2008. Keen to show that he can diversify, the next single to be released from the album is ‘Barnacled Warship’, out on August 16, a track with tones of regret but a bold fighting spirit, which also shows a sophistication and capability which means that Flynn should be taken just as seriously as his peers.

We all know that trends go round and round and right now folk is very much on a high. The nu-folk posse are not reinventing the genre completely but, if it ain’t broke, don’t fix it.

8/10