For our last discussion of the African Literature Book Club, we read and discussing Black Sunlight, a challenging piece
of work by Zimbabwean author Dambudzo Marechera.

Present: Alice, Aminata, Angela, Elizabeth, Sasha.

What on earth is going on?
Sasha:  This book was so weird. It starts off quite violently and I assumed the action was in Africa but then there were all these Western influences. So you aren’t always sure where it is set. I started to get into it around Chapter 4 and I know they were activists…
Alice: They were terrorists weren’t they…
Elizabeth: and he [the protagonist known as Christian] is a photographer for their subversive magazine Precision.
Alice: I could follow it in the beginning; I can follow his life which is quite straightforward up until he enters the cavern. Then it just gets weird…
Elizabeth: It just gets weirder and weirder from there, very trance like, he talks to someone who looks like himself.
Sasha: …and then he starts seeing people who I thought were people in authority who they had captured and tortured, and then they disappear. At that point he doesn’t know his own mind anymore and I stopped reading

Why couldn’t we finish it?
Elizabeth: It’s just too hard! I would need a whole academic year to dissect what’s going on in this book. I simply couldn’t follow this when reading it on the train and I started to fall asleep with the effort.
Ami: I agree it’s simply too hard to read. You can’t follow the story because you’re translating it and trying to find out his meaning.
Alice: After the protagonist enters the cavern, the book gets highly philosophical.
Sasha: It’s such a shame because I felt there was a lot of profound things being said but I was missing them simply because people don’t speak like that and you feel like you have to excavate the message that he was trying to communicate.
Ami: Sibusiso was telling us last month about the author, Dambudzo Marechera; that you either get it and love it or you think he is crazy.
Elizabeth: I don’t think he is crazy. This reminded me of the Beat Poets – and I don’t particularly like the Beats…
Alice: *gasp*
Elizabeth: Sorry. But this kind of stream-of consciousness was different from the Beats style and I liked it.
Alice:  This book seems to have a lot of Marechera’s story and influences in it. He attended Oxford university but he was completely insubordinate and tried to set his college on fire so they gave him a choice to either leave, or stay and get psychiatric treatment. So he left the university but stayed around Oxford with friends and wrote his novels. His first one House of Hunger was published by Heinemann and did very well and they had similar expectations for Black Sunlight but when they got it they refused to publish at first and then relented, so maybe his first book is less chaotic.
Angela: That happens a lot though with publishers and authors, they do second third and fourth revisions of books before they decide to publish. When I read this I immediately thought “this is like James Joyce Ulysses”
Elizabeth: Yeah there’s a lot of comparison between him and Joyce. I don’t think Ulysses gets nearly as psychological as this and thank god this isn’t as long as Ulysses. I would like to read Marechera’s poetry though.
Ami: He is so good with language and imagery, which would be fine for poetry but not in a novel it’s just too much. Did he ever go back to Zimbabwe?
Alice: Channel 4 was going to make a film of his book and they flew him out to Zimbabwe and housed him – but then he started arguing with them so they left and he stayed there. He died penniless aged 35.
Sasha: Well they do say there is a fine line between genius and madness but I agree I would like to read his poetry. There is a line in here that I underlined “The silence slammed the door after him, as he ravenously left.” (?!) I mean what is that?!
Elizabeth: How can Silence slam doors?
Alice: How do you ravenously leave?
Sasha: Then there are the references to a Jonah Complex [which is fear of one’s greatness]. Clearly you have an author here who is incredibly smart and to truly understand him you have to find out all that he is alluding to.

Is it African?
Alice: Well it’s definitely more substantial than the Tadjo book. Even when you can’t follow it you have a strong sense of the protagonis’s background, his friends, his origins, his duty to take photos and change the country.
Elizabeth:  I couldn’t always tell the races of the people in the novel because I didn’t want to assume. The only one I could identify as white was Blanche.
Sasha: I had the same problem I wasn’t always sure who we were with and where we were because the characters are just dropped in and then we lose track of them.
Angela: Does it matter whether the characters are black or white?
Elizabeth: It does help me situate myself when he has flashbacks to being in Oxford and then being on a University campus in Zimbabwe.
Alice: I definitely think it has all of the hallmarks of an African novel in the beginning…

Verdict
We see you smirking – all these educated black women can’t get through this 137 page book. We challenge you to read and understand this novel in one month with all the other stuff going on in your busy lives…yeah we didn’t think so!

For our 5th book review, we tackled Things Fall Apart (Pocket Penguin Classics)by the father of African Literature Chinua Achebe. It is a discussion we were all looking forward, as some of us had already read and adored the book.

Present: Aminata, Alice, Sibusiso, Elizabeth and Tope.

Things Fall Apart revisited

Alice: Penguin were going to send us another book for this series but it wasn’t available for the UK so they offered us Things Fall Apart  as an alternative. I agreed because it is a classic. And I love it just as much as I did when I first read it 15 years ago.

Sibusiso: It didn’t work for me; I think maybe I had huge expectations. You know Chinua Achebe “the father of African literature”. Perhaps I over romanticised it and so it didn’t work for me. But I respect the book in terms of what it achieved but I’ll be interested to see how Chinua Achebe’s writing has developed.

Elizabeth: I felt like that the first time I read Things Fall Apart, and maybe it was just because I really did not like Okonkwo (the novel’s protagonist) and I think I missed a lot of the nuance. But now with all the other novels I’ve read in this series I can really appreciate how well this story is told.

Aminata:  I found it very powerful: through one character and his life Achebe manages to tell us a lot about Nigerian history. He shows how easy it is for a group to come in and divide and conquer. It’s definitely a book that I would read again to pick up on the small details I may have missed.

Tope: I got what I expected from it and I mean to go read the follow up novels (No Longer at Ease / Arrow of God). I love it.

Where Things Fall Apart falters
Sibusiso: The proverbs, the irony of conversation, the stereotype romanticism of being “poor but happy” in the storytelling – It just didn’t work for me. I wish we had gotten to see some of the elders’ flaws: it would have been more realistic. I would like to have seen a bit more darkness. Compared to more contemporary African authors or someone like Wole Soyinka there wasn’t enough there.

Tope: [to Sibusiso] I understand what you are saying about the changes from when this was written and how it would perhaps be written by a contemporary author today. For example if Toni Morrison had written this you know you would have been in tears. She would have gotten to the bitterness of their everyday life and the new bitterness of colonialism, whereas Chinua Achebe glossed over all the whippings and the struggles…

Sibusiso: Yeah, I feel he needed to go there.

Tope: But then again the book isn’t about that, it is about African pride. The story is focused on Okonkwo, the protagonist. Iit’s not about colonisation which only takes up about one third of the book.

Achebe tells us how colonisation went down

Alice: You always kind of wonder how it was that Africans let down all their guards and traditions and embraced something so foreign [as Christianity]. The way the story is told in history books is that colonisers bought the natives with trinkets, and guns. But in this book it shows that people went to Christianity to escape the oppression of tradition.

Elizabeth: Definitely, the stories of Christianity are what they used to get people on their side, they used it to divide and conquer.

Aminata: There was inequality and unfairness in Okonkwo’s village. The missionaries used that to lure them into embracing Christianity. If you’re an Ozu [a person without a title] then why would you stay in a tradition that sees you as worthless? Like the woman who is forced to abandon her twins – why wouldn’t she join a religion that allows her to keep her children? It is possible to attract people without force or bribery, just by giving them more freedom.

The ending *SPOILERS*

Alice:  The ending is a bit the same as in Weep not Child: the main character tries to commit suicide. But Okonkwo succeeds whereas in Weep Not child the main character fails. I thought both characters acted in a very cowardly way.

Aminata: I thought Okonkwo’s suicide was a form of resistance. He knew the white people would come for him and he thought “I’ll kill myself before I let you kill me”.

Elizabeth: I agree that his suicide was “they’ll never take me alive” Okonkwo is a control freak until the end.

Tope: No, I think Okonkwo gave up; he reached the end of his tether. I think he thought it would be better to die in the evil forest than to be buried amongst his clansmen. You know at the end there were so many sentences about “they are behaving like women” when he committed suicide he couldn’t stand the thought of living or dying remembered by such a weak clan.

Alice: There is something so mythical about this story, like a greek tragedy, or something from Shakespeare.

Elizabeth: You could compare it to Othello! Only with Okonkwo it is mostly internal, you have his kinsmen directly telling him “you don’t have to do this to prove yourself”, but he always has to be the one controlling the situation. Whereas with Othello even though he is paranoid as a black soldier in all white Venetian society, Iago is the one playing on his paranoia.

What makes Things Fall Apart the quintessential African Novel?

Ami: It has everything on the list we made: family, politics, education a sense of duty from Achebe, the proverbs, and mostly being as far away from Alexander McCall Smith as possible!

Little can be done about industry awards, but when it comes to those that can be decided upon by the public, theatregoers must vote! Not just so that our voices can be heard and our votes counted, but so that non-white, non-’mainstream’ projects are valued and honoured. Theatre is a reflection of our society as it is, has been, and could be in the future. It cannot be left to an elite few to judge the plays that have captured our hearts and delighted us, or the productions that have forced us to take a hard look at who we are.

The What’s on Stage 2011 Awards cover all professional London productions between 1 December 2009 and 30 November 2010. There are several categories you can vote for – Best Actor and Actress (also in a musical), Best Ensemble performance, Best Choreographer, Best Takeover in a role etc. You don’t have to vote for all categories, but if your favourite production was Cat on a Hot Tin Roof, or Ruined, Sus, Joe Turner’s Come and Gone, Estate Walls or any of the superb plays staged in the last 12 months, then vote now! Let us show that Londoners care more about talent and artistry than we do about empty celebrity and back-patting elitism.

Click here to vote

This sassy and sexy quartet, which were one of the most prominent bands in the early 90s, are celebrating a 20th year music anniversary collection later this month. They have sold a staggering eight million albums worldwide and sung their top hits such as My Lovin and Whatta Man. More could have been done to twist up this last number, which was originally a duet with hip hop queens Salt N’ Pepa when it was first released.

Dressed in black and silver outfits, En Vogue looked phenomenal with their slick hair pieces, toned arms, and hot legs  – these women who are clocking their 40s brought their sharp spunk to a full house that showed much love in singing their songs and bopping to their beats. Initially their performance was distorted by technical microphone hitches, which thankfully were overcome by the end of the night.  Dawn sang her Lucy Pearl hit Don’t Mess with My Man, which roused the ladies in particular. And there was a boisterous crowd that shouted everyone should Free Your Mind – a rock-tinged r&b style number. This group are not natural dancers – at times their routines felt slightly contrived, but boy can they sing!

Featuring the original line up of Dawn Robinson, Terry Ellis, Maxine Jones, and Cindy Herron-Braggs, they played tribute to their old skool influences from the 60s and 70s. We were treated to complex harmonies of Ain’t No Mountain High Enough Supreme-style, Lady Marmalade, Tell Me Something Good and Ring My Bell doused with a Tina Turner and the Ikettes impersonation, with hair pieces tossing and turning to the infamous dance moves. It crystallized how seamless musical influences and traditions can be as En Vogue has subsequently set a standard for today’s female r&b and pop acts such as Destiny’s Child and Pussy Cat Dolls.

Considering today’s mediocre female groups, what is striking about En Vogue is that all of these ladies can sing – yes, you read right. All of them can sing. Too many of their counterparts today rely on one lead vocalist to carry the rest of the group through coupled with snazzy dance routines and threadbare clothing to distract from the key question on whether they can actually deliver timeless music.

My only quibbles were the omissions of tunes like Runaway Love, Whatever and Give It Up, Turn It Loose, which they were billed to sing and what happened to the encore after they ended with their number one hit Hold On?

The last time En Vogue was in London was eighteen years ago and it was fabulous to see the original line up take us back to the 90′s all over again! This hiatus really signifies an extremity in “black time”: ladies, what took you sooooooo long? Hope your UK fan base has given you something you can feel – come back soon!

Artistic Impression of Opening Night (c) Ralph Applebaum Assoc

Black Cultural Archives is on a mission to commemorate the contributions Black people have made to the culture, society and heritage of the UK. From its offices in South London, BCA enables a variety of communities to learn and connect with this often hidden history through its collection of historical treasures.

“Black history and Black culture are often thought of as being created outside of the UK – in Africa, the Caribbean or South America, but some people have a problem with the concept of Black people as a part of British history,” says Paul Reid, Director of BCA. “What we’re saying is the experiences of people of African descent in Britain can be traced, there are records of that history, and our job is to create a safe place where it can be collected, preserved and celebrated.”
The archives were established by a group of activists in 1981, one of which was campaigner Len Garrison. The group of founding members, which also included Makeda Coaston, Gail Cameron, Imelda Inyang, Habte Levi, Ritchie Riley and Pat Clare, were inspired by the teachings of Pan-African luminary Queen Mother Moore; visiting London from the US during the late 70s and early 80s, her vision and rousing speeches aimed at raising Black consciousness were key in formulating the early concept of the BCA.

Historical Documents (c) Black Cultural Archives

“When we’re asked serious questions about Black presence in the UK,” says Paul, “if we say we’ve always been here and are part of the fabric of this place, eventually some inquisitive mind says ‘prove it.’ So the early founders trying to set up a ‘Black museum’ were doing this as a way of saying ‘here is the evidence.’”

Over time this idea of a ‘Black museum’ evolved into the Black Cultural Archives, comprising of rare historical documents, oral history testimonies and photographs spanning five centuries to the present day. Researchers can access artefacts dating back to the 1700s as well as material relating to pre-Windrush migration to Britain from 1929-1985; and more contemporary areas, such as the Morris Collection documenting the work of Brixton-based activist Olive Morris.
“One thing we are clear about, though, is that we don’t try in any way to monopolise Black heritage. That would be a mistake. We signpost people to the George Padmore Centre, the Bernie Grant Archive at the Bishopsgate Institute, Manchester, Birmingham, Leeds, Liverpool, wherever they can go to get the information they are looking for.”

Community involvement is a thread that runs throughout the BCA’s history, with the archive collection primarily built from individual donations. “Somebody thought these things were special,” Paul continues, “and each item has a story. For example, we have lots of ephemera from organisations that existed and eventually folded – flyers, campaign forms, newsletters, magazines – things that would have been thrown away but act as a snapshot of what was happening at the time. For the archive of organisations that are still going strong, such as the Black and Asian Studies Association, when you read their organisation minutes, which we have a full record of, you learn about the issues groups have faced, and the type of change they have tried to bring about.”

“The community continues to generously support us, giving of their money and their time. Over the past year or so we’ve had 30 fantastic volunteers helping out with sorting documents in the archive, posting descriptions on our website so the public can access our catalogue via the web and come in to use the collection for research. Currently there isn’t a drop-in facility, but people can view by appointment, a service which is completely free of charge.”

Raleigh Halll, Windrush Square, Brixton - Courtesy of Heritage Lottery Fund

With any great movement, the time eventually arrives to step up and take operations to a new level. The charity was recently awarded £4m by the Heritage Lottery Fund towards building its Black Heritage Centre, the UK’s first national institution dedicated to commemorating and celebrating the experiences of people of African and African-Caribbean descent in Britain. With project support from the London Development Agency, independent grant-maker the Foyle Foundation, the Garfield Weston Foundation and Biffaward, Raleigh Hall, a long-disused and derelict Grade II* listed building in Brixton’s Windrush Square, will be transformed and extended to house a new archive storeroom and exhibition gallery.

London Borough of Lambeth has gifted the building to BCA, but with government agendas changing, have the plans continued unthreatened by cuts?

“I think that the ancestors are guiding us in this,” says Director Paul. “It just seems protected – I say that but I’m touching wood at the same time! For the past five years we have had to convince funders of our readiness to create the National Black Heritage Centre. As well as close inspection of the organisation’s governance and staff, we’ve had to prove that our collections are worth a 6.5 million investment and the expensive equipment required for storage; the heritage itself has been scrutinised. But after completing thorough development work, I’m pleased to be able to say that our plans are becoming reality.”

The project is currently in the development phase. “We had originally planned to open in October 2011. Now it will be summer 2012 to coincide with the Olympics. Ideas so far for our opening exhibition include Black achievement in the Olympics, with in-depth exhibitions, appearances by athletes who have achieved great things in sport; from well-known celebrity personalities to the more obscure achievers.”

A Walk to Black Cultural Archives (c) BCA

The finished building will include a specialist research centre and reference library, and dedicated spaces for education and learning for children and adults. Rather than just a day out, sustainable and continuous learning is the focus.
“Meaning is important,” Paul passionately states. “At some museums history is totally objectified – walking between items encased by glass with a bit of information on a plaque can lack cultural context. We want our centre to be different, to create an opportunity where people can come together and talk about the significance behind what they are seeing.
“Sometimes, people can feel the only way to keep their collections safe is to give them to one of the reputable, established, mainstream organisations. But as the heritage sector is disproportionately white and middle class, with a limited number of Black curators and archivists, when we go to an exhibition in one of these institutions that focuses on Black achievement or Black presence, we have to ask who has decided what the questions and answers of this history are.

Who’s telling the story? And whose story is it?

“The point is the storyteller is as important as the story, and it really is time that we articulate our stories in our own voice. I’m not saying in any way that it’s a dialogue that we should have only among ourselves – I think the original purpose for the BCA was right; set the record straight for everyone to know.”

We caught up with Andy to discuss the film and this is what he had to say.

Catch a Vibe: What inspired you to venture into the movie world?

Andy Amadi Okoroafor: I left Nigeria for France to study cinematography. I worked in fashion for 10 years in fashion houses and the French prêt à porter, art directing shows, catalogues and campaigns and directing music videos, record covers and billboards for major French musicians. I also set up Clam Magazine whilst biding my time and waiting for everything to fall into place for my foray into the movie making world.

What did you set out to achieve in the making of Relentless?

I wanted to make something that is aesthetic, a true reflection of Africa today and how we go about our normal everyday lives without any exaggeration or apology. A lot of what is out there doesn’t project the real Africa in my opinion.  I also wanted to showcase how the history and politics of the place affect normal citizens going about their every day lives.

Nneka Egbuna the latest Nigerian music sensation and MOBO award winner plays a lead role how did that come about?

Nneka is a good friend, who popped by my studio whilst I was looking for someone to cast in the role. I gave her the script to read and asked her to play the lead, which she was surprised at because she assumed I was only going to ask her to play a small part.

Jimmy Jean-Louis who played the lead opposite Monique in Phat Girlz and  the Haitian on the NBC series Heroes is also cast along with the lead Gideon Okeke who is a relative newcomer but put in a fantastic performance.

What challenges did you face getting the movie made?

A lot. Finance, organisation, security in Lagos, I also worked really hard to ensure a quality movie.

What do you think of the African film industry?

Apart from Nigeria and a bit of South Africa I don’ think there is a film industry in Africa as the money doesn’t come from there. Only Nollywood can be called an industry as the rest mostly rely on foreign grants.

I understand the soundtracks to the movie are from some notable African artists?

Yes I have music by Tony Allen,  Keziah Jones, Bantu , Dj Farhot feat. Nneka, Kuku,General Pype, Chuma Obumselu, Oraminyam

What advice have you got for any person of colour hoping to forge their way in the movie industry?

As in everything if you want to do something just go for it, but pay attention to the quality of your work.

What next for you, will Relentless be on general release?

We will be screening Relentless in Italy, then Finland and possibly America and we’ll see what happens from there.

Relentless is screened on Wed 20 at 18:15 and Thurs 21 at 16:00 in NFT2. Tickets can be obtained from the BFI website. Click here to book.

Aloe Blacc: I started out in the music business as an emcee making songs for fun with my friend DJ Exile. It was really just a hobby for me because my main focus was school and getting good grades, which paid off because I ended up receiving a full-tuition academic scholarship to a private university. Exile and I would make mixtapes that eventually made their way around the world, which is similar to how music travels today but it was a bit slower without the speed of the internet. When I graduated from university I went on a European tour and met producer/emcee, OHNO, who was on Stones Throw Records. We recorded an album together and the label heard the music. They liked the songs on which I was singing best and asked me to record as a vocalist, so I delivered Shine Through, which is a mix of genres but mainly songs on which I am singing.

CAV: Your whole musical style and fashion sense has glimpses of the past – What inspires such things?

Aloe Blacc: The music on my new album, Good Things, is what I like to call “brand new old soul” because it sounds classic but it is contemporary music. I like to wear a style of clothing that suggests the rich history of soul music and honour the great musicians and singers who paved the way for me to be a soul artist today. My style also is a bit of nostalgia from the photos of my father’s youth because some of the items I’m wearing remind me of his old clothes.

CAV: There have been a couple of videos recently of you recording live in the studio. Studio or touring, which one do you look forward to more?

Aloe Blacc: I enjoy recording in the studio the most. My favourite part about being a musician is making music. I also enjoy performing, but the creative process is the most fun for me and when I am in the studio. When in the studio, my goal is to process an emotion or a feeling thoroughly and create a piece of art that is attractive from beginning to end. When I am on stage, the goal is to create the ultimate entertainment experience. I always feel as though the stage is where songs become complete. Often times the studio recordings are like rough drafts that were turned in to meet a deadline, but in a live performance, the songs can grow and change and have the full representation they deserve.

CAV: You have had a heavy hand in your career and always have. Now with Stones Throw, do you still have that control?

Aloe Blacc: I always want to be in control of my creativity. I am an artist and my goal is to deliver messages to people. It is important to keep the message pure between myself and the audience without too much interference from the business side of music. I encourage all artists to really be aware of how their art is being distributed to the masses and to be aware of how the method of delivery can affect the message.

CAV: Now onto your second album with Stones Throw backing you, what can we expect from Good Things and your European tour dates?

Aloe Blacc: Good Things is an album that focuses strictly on soul music. The music and my performance is being compared to classic soul artists of the 60s and 70s, which is fine with me because I respect the greats and am honoured to be mentioned in the same breath. My band, The Grand Scheme, and I are going to give Europe a taste of authentic soul music with some outfits from the past as well. I am styled by Via Davia Vintage in Los Angeles, and they have an impressive stock of suits and accessories that fit the look I want for the stage. In all, you can expect great things from the show!

Aloe Blacc is performing at the Jazz Cafe on Tuesday 19 October
BOOK TICKETS

Ohema Ohene, the shop, has arrived.  Situated in the heart of South London and opened less than 12 hours, as I approached the shop, there were already a few passers by, standing outside and staring excitedly, enjoying the stylish mannequins. With clothing made from material originating from the African continent then transformed into current modern pieces, they could all easily sit in prime place next to the latest offerings from Topshop or Warehouse. The boutique definitely had a regal ambience in the air and aptly enough Ohema Ohene translates to “Kings and Queens” in the Ghanaian dialect of Twi.

The boutique was bursting with designs fit for modern day living, all created by Abenaa for Ohema Ohene. Particular favourites of my own included the shelves stacked of cool hi-tops and plimsolls to pair with the winter must have Mac coat. All easily wearable, cultural and stylish. Most definitely welcome additions to any wardrobe and perfect for any London urbanite.

More on the glamorous side and from the Ohema Ohene Mainline collection came racks of sophisticated dresses, skirts and playsuits. Embellished with beautiful beads, sequins and other adornments, on a foundation of luxury fabrics, they will proudly stand out from the usual group of standard little black dresses.

Menswear is also something Abenaa has recently launched, unveiling a line of luxury knits and shirts for men. Much more casual and mostly trimmed with print, men can comfortably embrace their heritage with the Ohema Ohene pieces and still feel at ease.

Over the last few years there has surely been an increase in interest with merging African culture with Western influences and Ohema Ohene surely remains at the forefront of this revolution.  Continually producing high quality unique clothing, the launch of the first Ohema Ohene shop seems to be just the beginning. Expect more clothes, more outlets and more innovation if this first boutique is anything to go by.

www.ohemaohene.com

Split between two eras, Act One opens with the seemingly perfect all-American late-1950’s couple Russ (Stefan Rhodri) and Bev (Sophie ‘sister of Emma’ Thompson) quibbling good-naturedly over geography related trivia.  Sweet Bev is over-solicitous to the point of condescension, most noticeably around guests.  There’s a bizarre cheerfulness about the couple, somewhat forced and it doesn’t take long for their apparently idyllic existence to unravel.  Russ and Bev are still in the throes of grief over their son, Kenneth.  On his return from the Korean War the young man is tormented by what he’s witnessed on the battlefront.  He receives no comfort or hero’s welcome from the people back home; rather they isolate him afraid of what he has become.  Unable to cope with post-war living Kenneth commits suicide.  Bev deals with it by living in giddy delusion; Russ seethes with resentment over how his son was treated by the townsfolk.  He’s a powder-keg of suppressed emotion ready to go off at the slightest provocation.  Not even the gentle entreaties by the well-meaning if anodyne young minister Jim (Sam Spruell) can get Russ to address his anguish head on. Instead the clergyman is seen by Russ as a source of irritating platitudes.

Meanwhile the local busybody-bigot Karl (Martin Freeman) is trying to whip the neighbourhood into a frenzy over an African-American family’s plans to move into the area, dragging his deaf pregnant wife Betsy (Sarah Goldberg) unwittingly into the affray.  Russ and Jim support Karl in theory but don’t share his fury; Bev is appalled by their small-mindedness.  The antics of hypocritical Caucasian suburbia are observed by Bev’s African-American maid Francine (Lorna Brown) who is just about to quit the job, and her plain-speaking, sharp-as-a-tack husband Albert (the wonderful Lucian Msamati).  When tension between her employers and their neighbours reaches boiling point, Francine is determined to mind her own whereas Albert instinctively intervenes, much to his wife’s annoyance.

Fast forward 50 years in Act Two to a derelict house where six strangers discuss its possible purchase and renovation (all played by actors from the previous act).   As the scene unfurls we discover garrulous lawyer Kathy (Thompson) is the daughter of Karl and Betsy and po-faced Lena (Brown) is the great-niece of Francine.  Lena has reservations about young Caucasian couple, Steve and his toothy, naive wife Lindsey’s (Freeman, Goldberg) plans to move into what has been an African-American neighbourhood for decades.  As the meeting progresses and the racial slurs fly back and forth beneath the veil of polite conversation, we are reminded that prejudice in contemporary Western society is a far more covert and thus complex animal.

Clybourne Park is a thought-provoking, thoroughly enjoyable, if not entirely comfortable theatrical experience.  Norris’ hilarious yet poignant script seamlessly alternates between tragedy and comedy, particularly in the first act, without being ruined by bathos.  Dominic Cooke’s direction keeps things at breakneck speed, perfectly complementing the simmering nature of the play; characters swap heated dialogue at a realistically vigorous pace.  Clybourne Park casts doubt on our supposedly ‘tolerant’, liberal post-modern society.   Discrimination is ever-alive; we’ve simply found more varied, sophisticated ways to indulge it.  This idea is captured splendidly in Act Two during a scene in which the veneer of civility slips off and some of the characters exchange incredibly offensive (racist, sexist, homophobic) jokes.  It’s indicative of how fearlessly Norris’ urbane script explores discrimination in its many guises.  Clybourne Park handles these themes with an intelligence and subtlety that Sucker Punch for example (which also played at the RCT earlier this summer) lacked.  Paradoxically, for all its subtlety Norris’ piece still has an unapologetic, in-your-face quality.

Clybourne Park is not without its drawbacks, however.  In an attempt to deconstruct and expose the folly of stereotypes it isn’t always clear if the play is guilty of perpetuating a few of its own.  In both acts for instance, Lorna Brown portrays the continuously p*s*d off, hen-pecking African-American woman and Sarah Goldberg as Lindsey is a variation of the dizzy blonde valley chick.  It’s not certain whether these depictions are a deliberate, statement-making move on Norris’ part or unconscious stereotyping.  There’s something disjointed about the final scene too; although connected to the storyline in the first act, it feels like an unnecessary appendage.

Nevertheless Clybourne Park is an exhilarating, highly humorous, heart-tugging ride.  Each of the cast is on optimum form.  It’s especially refreshing to see Martin Freeman play something other than the long suffering Englishman and he affects an American accent with aplomb.  Norris’ play is a must-see.

Pics (c) Johan Persson

Written by Bruce Norris
Directed by Dominic Cooke
Cast: Lorna Brown, Martin Freeman, Sarah Goldberg, Lucian Msamati, Steffan Rhodri, Sam Spruell, Sophie Thompson, Michael Goldsmith
Royal Court Theatre until 2 October 2010
Info & Bookings

Cotton’s

55 Chalk Farm Road, London NW1 8AN (020 7485 8388) Tube: Camden
70 Exmouth Market, London EC1R 4QP (020 7833 3332) Tube: Farringdon
www.cottons-restaurant.co.uk
Cottons Camden is London’s leading and longest standing Caribbean restaurant. They deliver Caribbean staples in sizable portions: the starter ribs are delicious and the mix meat platter, with buffalo wings, pork belly, jerk chicken, sausage and lamb cutlets, will have you lick your fingers. Cottons boasts a nice party atmosphere, fuelled by the fruity (but strong) cocktails mixed by the friendly staff of their Rumshack bar- which contains one of the biggest rum collections in town. The bar is tiny (but the restaurant is on 2 floors) and it’s always a blast to see people crammed there, shaking their stuff to the vibing music played by the DJ.
Your comments:
“Nice venue, atmosphere, traditional menu, attentive staff.”
“ Great food and super atmosphere especially the Islington Branch.  Service is usually first class.  Some great events and nights like Colourful radio a few Saturdays ago.”

Mango Room
10-12 Kentish Town Road, London NW1 8NH (020 7482 5065) Tube: Camden
www.mangoroom.co.uk
This restaurant, also located in Camden serves traditional and modern Caribbean food.  The prices are slightly higher than in your regular Caribbean restaurant but one look at the menu and you will understand why. You will find Caribbean staples such as Ackee and Saltfish, Rice & Peas and Roti Bread alongside more refined fare such as Roast Honey & Ginger Duck Breast or Baby Spinach, Okra & Coconut Risotto. Vegans will find enough fish dishes to satisfy the most demanding palate.  Mango Room’s colourful décor is reminiscent of an upscale rumshack, with lots of wood and bright paintings on the walls (some of which you can buy). The three dining rooms are versatile and the tables will accommodate a couple on a romantic dinner or larger birthday bookings.

Your comments:
“The food is exquisite, the cocktails delicious. The décor tasteful, very artsy. I wish I could afford to eat there more often”
“The food is out of this world, the music – soft reggae, the fabulous service which is just heaven and the cocktails at the bar. The art decor describes it all.”

Bamboula
12 Acre Lane, London SW5 5SG (020 7737 6633) Tube: Brixton
www.bamboulas.net
Bamboula restaurant is an institution, just like Cottons. Located in the heart of the Caribbean community in Brixton, the bamboos at the entrance and the front window of the restaurant make it look a bit camp but once inside, you will be charmed by the cosy atmosphere. The menu is pretty basic; Bamboula is not the place where you will make any culinary discoveries. The Steamed Tilapia and Chicken Rundown are just what you would expect for a local Caribbean restaurant. What sets Bamboula apart is its informal atmosphere. The place is always alive with lively banter, from the seated customers, locals waiting for their take-away and the friendly staff. You will find yourself staying a bit longer than you expected, feeling too full and relaxed to leave.

Your comments:
“Great atmosphere and friendly staff plus nice decor and good food, not too expensive either.”
“Have dined there many times and I’ve always had a great time. The atmosphere is very relaxed and very friendly.”

Chef Collin Brown
2 Yabsley Street, London E14 9RG (020 7515 8177) Tube: Blackwall
www.chefcollinbrown.com
Located in the heart of the Docklands, Chef Collin Brown is one of the few upscale Caribbean restaurants in London. From the chef’s credentials – Caribbean Chef of the Year in 2005/6 and 2006/7 and nominated for the 2010 Restaurant of the Year award – to the luxurious décor, everything at Chef Collin Brown speaks of quality and refinement. The food is an inventive mix of Caribbean and European cuisine with Lobster marinated in a coconut cream sauce, Braised Oxtail and Homemade Baileys Ice Cream on the menu.

Your comments:
“The Curried Goat is served in a pasty style basket both giving it a unique presentation and the meat is always well flavoured and spiced.”
“Quite posh, with a great staff and delicious food. I don’t usually pay no mind to desserts when I go to west indian restaurants but this time I was pleasantly surprised.”

At Catch a Vibe we like to read and we’ve reviewed the most exciting new voices in African  literature: Lola Shoneyin, Nii Ayikwei Parkes, Chika Unigwe, Marguerite Abouet, Brian Chikwava, Adaobi Tricia Nwaubani and many more who have achieved critical success on the international literary scene.

But they would not be where they are today without their elders, giants of African literature who have paved the way.

Catch a Vibe has teamed with Penguin Classics to launch a Book Club where members will be able to (re) discover works by these giants of African literature.

Each month, the 17 members forming the Catch a Vibe Book Club will meet to discuss one title from the African Writers Series. The schedule is as follows:

Girls at War by Chinua Achebe (Nigeria) | Book club meeting: 29 June 2010  | Read our review

Weep Not, Child by Ngugi Wa Thiong’O (Kenya) | Book Club meeting: 29 July 2010 | Read our review

Neighbours the Story of a Murder by Lilia Momple (Mozambique) | Read our review

As the Crow Flies by Veronique Tadjo (Ivory Coast) | Read our review

Things Fall Apart by Chinua Achebe (Nigeria) | Read our review

Black Sunlight by Dambudzo Marechera (Zimbabwe) | Read our review

The Book Club is now closed. It’s been a very rewarding and entertaining experience: I can hnestly say that I’m not sure I would have read these books were it not for the book club. I did enjoy some of the titles tremendously: Girls at War, Things Fall Apart and Neighbours, The Story of a Murder. I wholeheartedly recommend them!

Catch a Vibe Book Club in association with:

Members of the Book Club

Alice Gbelia – Editor & Founder of Catch a Vibe
Elizabeth Salmon – Books Editor for Catch a Vibe
Aminata Diaby – Book Club Coordinator
Angela Donor – Founder of Sister Circle, London
Donna Boner
Gabrielle Smith – Editor of iamthenublack.com
Minna Salami
Grace Adedipe
Joanne De Roche
Marie-Ange Nouroumby
Maureen Brown
Nadine Leighton
Ngozi Anuforo
Sarah Akrobettoe
Sasha Leacock
Sharon Jennings
Tope Bashorun

Buy African literature in our Amazon store

Super-groups rarely equal the sum of their talented parts on a whole album, so excuse me if the idea of Nas and Damian Marley didn’t send me into an orgasmic tailspin of joy. Nas has saddled “The Great Horse of Average” since 2002′s God’s Son, while Damian Marley is yet to realise the potential hinted by Welcome to Jamrock. All the same, here we are smack in a new decade with Distant Relatives, a collaboration between two great forces of hip hop and reggae. Does it buck the trend?

Things start good and fresh. First single and track on the album As We Enter is the kind of hip-hop you’d pay good money to dance to; sweet funky horns introduce a bumping keyboard rhythm while Nas and Damian trade gorgeous verses back and forth. Sharp, witty, with only a weak chorus cutting it from the elite class of classic banger status.

If the album was a Greek army, As We Enter would be its Trojan horse; theme-wise the album is a lot more weighty than the first track would lead you to believe. Tribal War is an appeal against violence, Marley excelling on stirring chorus, Nas maintaining his own high standards, guest K’naan doing what guests should do: stealing the limelight from both of them. On Leaders, Nas gives a touching tribute to a ghetto role model, whilst Friends (about ‘real,’ erm, friends) produces an assured turn from Damian.

Lyrically this album is near faultless; in turns honest and menacing (Dispear has Nas on ruthless form) also, insightful and touching (Count your Blessings is a highlight). Take a moment to consider; this is a positive high profile mainstream rap album in the 21st century, now with eighty percent less schmaltz or preachy-ness. That alone deserves merit.
.
The partnership between Nas’s veteran East Coast rap style and Damian’s patois flow excels (not that this was unexpected, seeing as they already worked together on Road to Zion) and tracks like Nah Mean and  the aforementioned As We Enter produce a satisfying union. An excellent album with few misfires (Joss Stone should leave hip-hop alone, Hip Hop should keep child choirs from their choruses) but considering everything going against all collaborations of this sort, that’s minor. A triumph.

Lucian Msamati and Jenny Jules

Mama Nadi is a tough cookie who cares only about running a profitable business. She’s hard and relentless but at the same time strangely compassionate. When she finds out that the ruined Sophie is stealing money from her to pay for an operation to fix her mutilated body, Mama Nadi is angry but no punishment materialises. It’s only in the final poignant scene of the play that Mama Nadi’s ambiguities are explained.

In Mama Nadi, Lynn Nottage has created both the good and the bad of the human condition. However with Sophie and Salima there are no such contradictions. Both women are horrendously damaged, physically and psychologically and have been used as pawns in a vicious civil war. Michelle Asante who plays Salima is the emotional heart of the play when she movingly describes being held for five months by rebel fighters who repeatedly raped her. Her story of survival is uplifting but unfortunately short-lived.

Lucian Msamati, Okezie Morro and Silas Carson

Ruined is an intelligent and well-acted study of the female character. The traumas of war bring out different reactions from the women: Salima goes to extremes in order to escape her world of abuse, Sophie chases the money that will allow her to mend her broken body while Josephine dreams to be rescued by a man. Above them all is Mama Nadi who becomes an exploiter of her fellow women to fiercely protect the little she has left.

Pippa Bennett-Warner and Jenny Jules

These women’s narratives are steeped in reality, derived from testimonies collected by Lynn Nottage herself during a trip to the Congo where she spoke to many female victims and survivors of the civil war. The result is a sad, yet compelling play, bringing to the fore stories that are too often hidden.

Pics (c) Almeida

Ruined, at the Almeda Theatre until 5 June

What’s On  – Black Theatre listings

Wale Adeyemi’s clients include Alicia Keys, Mos Def, Beyoncé, Missy Elliott and the Beckhams.

He is an ambassador for the Prince’s Trust, owns his own clothing label and in 2008 was bestowed with a MBE.

Wale discusses the inspiration behind his designs, his Nigerian heritage and his future projects.

CAV: You describe your label B-side as “somewhere between the kerb and the boutique”, could you elaborate on that?
Wale Adeyemi: It means I’m inspired by both streetwear and high end fashion. It’s a kind of chameleon vibe mixing the two approaches.

CAV: Children from a Nigerian heritage are often expected by their parents to be lawyers and accountants. How did your family feel about you pursuing a career in the creative industry, in particular, fashion?
Wale Adeyemi: My pops wasn’t happy at all, in fact he was very disappointed when he realised my career path – but he’s cool with it now.

CAV: Through your work as an ambassador for the Prince’s Trust, how important is it to you that your work and you yourself contribute to London’s creative future?
Wale Adeyemi: It’s really just about London and about the youth in general. There are so many creative and talented people emerging, they just need the right guidance and direction.

CAV: How do you make the most of your position as an ambassador for Prince’s Trust to motivate and inspire youth culture?
Wale Ayedemi: I try to speak to and also lend my ears to as many people as I can. It’s not all about talking; sometimes it’s just about reaching out and listening to their thoughts and questions.

CAV: At the time when you entered your profession were there any people of colour, if not, how did you deal with that and what kept you going?
Wale Ayedemi: There were very few, but notably Joe Casely-Hayford was one designer who made me realise the dream could turn into reality. After seeing his achievements and seeing how he had built his business I realised it was all possible.

CAV: It is undeniable that London has been a great influence to your work, but how much, if any, has your Nigerian background influenced your work both creatively and business wise?
Wale Ayedemi: London has had a major influence on my work as the city has become a melting pot of so many cultures and that’s very inspiring. My first three collections were African inspired and I started buying fabrics from Nigeria and making the garments here in the UK. I then started making shirts in Nigeria and wholesaleing in the UK – I sold loads.

CAV: What is your opinion of current and emerging black British talent?
WA: There is lots of talent emerging daily and it’s a great time! I find it very exciting.

CAV: How did it feel to receive an MBE?
Wale Ayedemi: Awesome! I was very, very proud; it’s been such a journey.

CAV: Where is your MBE now, somewhere sitting proudly on your mother’s cabinet?
Wale Ayedemi: Exactly. My mum actually came with me [to the ceremony] and she loved it.

CAV: Prince’s Trust and MBE, what else is on the horizon for Mr Adeyemi?
Wale Ayedemi: I’ve just recently launched the online store b-sidebywale.com which is doing very well. My next mission is to do something in Nigeria, for example I would love to open a store there. So if theres anyone out there that can make it happens reach out!

Ony Uhiara in Eurydice

British Nigerian Ony Uhiara is no stranger to the spot light.

For many she is most famous for her role in the ill fated BBC sitcom The Crouches which made its way to our screens back in 2003. But she has also appeared in Doctors, Walking the Dead, Holby City, Rosemary and Thyme and The Bill.

Uhiara has also worked extensively on stage and has appeared in four Royal Shakespeare Company productions, Fall Out by Roy Williams at the Royal Court Theatre and in 2008 she played the lead role in Tarell Alvin McCraney’s In the Red and Brown Water at the Young Vic.

She now returns to the Young Vic as part of ATC Theatre Company’s international tour of Eurydice, directed by the Olivier winning director Bijan Sheibani who is most famous for also directing the critically acclaimed The Brothers Size.

Catch a Vibe recently caught up with her to find out more about it.

Catch a Vibe: I would describe Eurydice as a little bit odd. What attracted you to the play?
Ony Uhiara: (Laughs) When I first read the play it just spoke to me on a really personal level and there was a lot that I could very easily relate to in the themes of the play. I enjoyed the oddness and I enjoyed the quirkiness of it as well. Things like the stage directions saying “he throws her into the sky” and random things like that make you go ‘hmmm, I wonder how they gonna do that.’

CAV: You were at the Young Vic Theatre back in 2008 staring in In the Red and Brown Water: how did you feel coming back?
Ony Uhiara: Quite strange actually. Strange but nice and then the strangeness went and then sometimes it keeps coming back again. But I feel really honoured to be part of their work again. It’s an amazing place to work and it’s always buzzing; it’s really lovely working here.

CAV: ATC Theatre Company has made some incredible work over the past two years. Were you ever apprehensive about joining the company?
Ony Uhiara: (Surprised) Not at all! No way!

CAV: Excitement rather than apprehension then?
Ony Uhiara: Definitely! Especially because when I was doing In the Red and Brown Water and The Brothers Size was on at the same time, just watching them I would think ‘Oh Wow!’ So I was really excited to be a part of that.

CAV: How did you find working with award-winning director Bijan Sheibani?
Ony Uhiara: (Laughs) He is thoroughly amazing and brilliant and such a cool guy. He’s just on it and sees what needs to be done. (Long awe-filled pause) He’s great.

CAV: It has been stated that Black theatre is doing really well at the moment. Is that something you agree with?
Ony Uhiara: There is no doubt that there are a lot of good things out there at the moment. Including Lynn Nottage’s Ruined starring Jenny Jules and Lucian Msamati at the Almeida. You can’t deny that there is a lot of good material out there and great performers and writers.

CAV: More specifically with Black British theatre, there is a strong argument that we are seeing the same story from the black community; a “theatre of the ghetto”. What’s your opinion?
Ony Uhiara: Rather than the stories that are put out there I think it’s more, maybe the perception of how we see ourselves. Or how we analyse work that we ourselves do…or judge the work that we do.

CAV: Do you think we are too critical of ourselves?
Ony Uhiara: Sometimes. No one wants to go and watch something that is absolutely dire. You don’t want to be crap at your job, you want to be the best that you can be but I do feel that…(pause) we need to kind of interact just in a different way in how we are creatively and how we respond to things. I don’t like perpetuating that it is all so very difficult for Black British artists or writers or directors.

CAV: Finally, what are your plans after this production?
Ony Uhiara: I have been knocking back and forwards with different projects so I think I’m going to have about 3 weeks off when we come back from Barcelona and then on to a next project.

CAV: Is it a top secret project or can you tell us a little more about it? You seem quite tight lipped.
Ony Uhiara: Yeah! (Laughs)

Eurydice will be playing at The Young Vic theatre until 5th June 2010. For more information or to book tickets please visit www.youngvic.org or call the box office 020 7922 2922