TH BHM Booklet 2019
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Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
London Metropolitan Archives Ic and Jessica
LONDON METROPOLITAN ARCHIVES Page 1 HUNTLEY, ERIC AND JESSICA {GUYANESE BLACK POLITICAL CAMPAIGNERS, COMMUNITY WORKERS AND EDUCATIONALISTS} LMA/4463 Reference Description Dates BUSINESSES AMERICAN LIFE INSURANCE COMPANY Correspondence and agreements LMA/4463/A/01/01/001 Eric Huntley's signed agent agreement with 1968 - 1979 amendment. Monthly performance appraisal letters evaluating sales results Includes later amendment agreement. Sales results were monitored by his agency managers Raymond Eccles and Charles Patterson. Also an annotated draft speech composed by Eric Huntley on Raymond Eccles' relocation to the West Indies. Client's insurance claim details with carbon copy suicide letter attached (1968-1969) 1 file Printed material LMA/4463/A/01/02/001 'Who's Who' directory for the Las Palmas 1973 Educational Conference: containing images of staff by country 1 volume LMA/4463/A/01/02/002 Eric Huntley's personalised company calendar 1976 Unfit 1 volume LMA/4463/A/01/02/003 Grand Top Club Banquet menu with signatures. 1971 - 1972 Training material and sales technique leaflets. Itinerary for American Life Convention in Rhodes, Greece. Includes Eric Huntley's business card. 1 file Certificates and badge LMA/4463/A/01/03/001 Certificates of achievements for sales, training 1968 - 1976 and entrance into the Top Club conference 1 file LMA/4463/A/01/03/002 Badge with eagle, globe and stars emblem 196- - 197- Metal thread on fabric 1 badge Photographs LONDON METROPOLITAN ARCHIVES Page 2 HUNTLEY, ERIC AND JESSICA {GUYANESE BLACK POLITICAL CAMPAIGNERS, COMMUNITY WORKERS AND EDUCATIONALISTS} LMA/4463 Reference Description Dates LMA/4463/A/01/04/001 Insurance Convention, Republic of Malta 1969 Black and white. -
The Alfred Fagon Award Friday 29 November 2013
THE ALFRED FAGON AWARD FRIDAY 29 NOVEMBER 2013 TRICYCLE THEATRE SUPPORTED BY THE PEGGY RAMSAY FOUNDATION Theatre Partner Media Partner THE SHORTLIST FOR THE 17th ALFRED FAGON AWARD OLADIPO AGBOLUAJE Fractures DIANA NNEKA ATUONA Liberian Girl DENTON CHIKURA The Epic Adventure of Nhamo the Manyika Warrior and his Sexy Wife Chipo MARTIN EDWARDS The Glory Road DANNY JAMES Bounty CHINO ODIMBA The Long Poem JULIET GILKES ROMERO Razing Cane AWARD PRESENTATION Host Anton Phillips Chair of Assessors Presenter of the Award Professor Gus John Professor Gus John has been involved in education, schooling, community development and change management in Britain since the middle 1960s. He is an associate professor and honorary fellow at the Institute of Education, University of London, and director of Gus John Consultancy Limited. Professor John is a member of the African Union’s ‘Technical Committee of Experts’, working on modalities for making the Global African Diaspora the Sixth Region of Africa, as well as an author and motivational speaker. In 1989 he was appointed Director of Education in Hackney, the first black Director of Education in the UK. Since leaving Hackney, Professor John has been working as an international development consultant in Britain, Europe, Africa and the Caribbean. He was Chair of Talawa Theatre Company for four years during which time Talawa extended its education and development programme for young actors and playwrights. In 2008 Professor John led a consultation for Arts Council England on Identity, Aesthetics and Ethnicity and, with Dr Samina Zahir of Hybrid, wrote an epistolary report entitled: Speaking Truth to Power . He is the proud father of six children, three of whom are artistes: one a scriptwriter, actor and opera singer; another a lead vocalist, singing therapist and saxophonist and the third, a rapper and teacher who uses his art and his skill in producing backing tracks in his work as a teacher of children with severe learning disabilities. -
Subject Guide
Subject Guide Black Arts Ref. Ephemera/370 Ref. Ephemera/137 Ref. COLETAY/2 © MAAS/Black Media Group Background Every year, on the weekend of the August Bank Holiday the streets of Notting Hill come alive with an expression of Black culture through the Notting Hill Carnival. Although the origins of the Notting Hill Carnival are debated; it is certain that during its c. fifty years in existence it has come to be a highlight in the British cultural calendar, drawing annual crowds of over one million people. Carnival is an art form in its own right, but one that blends music, dance and theatricality that is rooted in the culture of the Diaspora. The Notting Hill Carnival also has its origins in a community endeavour; one that is based in and serves the community, but that also acts as an entry point into Black culture. The racism experienced by many immigrants led to the development of Black communities; both in the sense of a geographical location and also of united interests and shared experiences. The emergence of Black communities led to the fostering of new identities and forms of art, in part found in the shared cultures of the Caribbean and Africa and in part as a counter balance to the dominant, white culture. During the 1970’s there was a re-emergence of many community based dance and theatre groups, but they struggled to find funding and to professionalise. This led to a catch-22 situation as the funding bodies had limited money to fund these community based arts group, but without the funding these groups were unable to get the experience they needed in order to develop and professionalise. -
Tunde Jegede
TUNDE JEGEDE SELECTED CREDITS AFRICAN APOCALYPSE (2020) KHARTOUM OFFSIDE (2019) THE EMIDY PROJECT (2018) (The Emidy Project was officiaLLy recogNised by UNESCO as a worLd Slave Heritage Narrative of historicaL and cuLturaL sigNificaNce) 500 YEARS LATER (2005) FRANZ FANON: BLACK SKIN, WHITE MASK (1996) BIOGRAPHY TuNde Jegede is a composer, producer, ceLList and kora player who has beeN steeped in the traditioNs of EuropeaN and AfricaN ClassicaL music for the last 30 years. From an earLy age, TuNde was uniqueLy schooLed in both WesterN and AfricaN ClassicaL Music. He atteNded the PurceLL SchooL of Music, UK's first speciaList music schooL coNservatoire and also studied the music of the Kora (AfricaN Harp-Lute) and the Griot traditioN under the GambiaN Master of the Kora, Amadu BaNsaNg Jobarteh. From this unusuaL paraLLeL educatioN, TuNde gaiNed a deep understanding and appreciatioN of both forms of music and their distiNct legacies, and alL these straNds and influeNces have since informed his music and work as an instrumeNtalist, teacher, and interNatioNaL classicaL composer. As a chiLd TuNde wrote poetry at the Keskidee CeNtre, where his father was the resideNt artist. There at the UK 's first Black Arts CeNtre, he was surrouNded by siNgers, writers and poets such as Bob MarLey, LiNtoN Kwesi JohNsoN, Edgar White, LeN GarrisoN and WaLter RodNey. At the same time, he was also a chorister in a boys’ choir that toured CathedraLs across the couNtry and alL these earLy influeNces coNtributed to his growiNg perceptioN of music and the word. By the age of 15 TuNde had beeN exposed to various musicaL idioms and his love of WesterN and AfricaN ClassicaL music, gave birth to a growiNg interest in Jazz and its reLated art-forms. -
Supported by the Peggy Ramsay Foundation
CELEBRATING 1 8 YEARS OF SINCE 1 9 9 7 Supported by The Peggy Ramsay Foundation Thursday 20 November 2014 The Dorfman, National Theatre 1 A5FAGONprogramme.indd 1 04/11/2014 11:31:27 Past winners of the Alfred Fagon Award for Best New Play of the Year photographed by Richard H. Smith at Theatre Royal Stratford East on 27 June 2014. Linda Brogan (joint winner 2001), Shenagh Cameron (1998), Lorna French (2006), Levi David Addai (2011), Diana Nneka Atuona (2013), Paula B. Stanic (2008), Trevor Williams (2002), Marcia Layne (2003), Oladipo Agboluaje (2009). “The Peggy Ramsay Foundation spends its income in helping writers for the stage. Since the Alfred Fagon Award came into existence the Foundation has provided funds for its awards. The Award’s encouragement for the ethnic writers it supports has been a valuable and productive achievement and the Foundation is honoured to have been able to assist in that work. We hope to be able to continue contributing to the Award and its important success.” G Laurence Harbottle, Trustee, The Peggy Ramsay Foundation “The Alfred Fagon Award has made a unique contribution to the development of a diverse repertoire of writers and plays over the past 18 years; many of the past winners of the Award have established themselves as important voices within the culture of this country. The trail blazed by Alfred Fagon and his contemporaries continues to inspire and motivate new generations of creative artists. The National Theatre is delighted to support the Award by hosting the reception for the winning author and -
Black British Theatre: a Transnational Perspective
Black British Theatre: A Transnational Perspective Volume 1 of 2 Submitted by Michael Christopher Pearce, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, January 2013. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) ........................................................................................ 1 Abstract This thesis examines post-war black British theatre through a transnational lens. It argues that the hitherto prioritization of a national paradigm in discussions of black British theatre is not sufficiently complex to chart the historical processes that have shaped it and the multiple spatial, cultural, and political contexts in which it has been generated. This thesis finds that a transnational optic exposes a network of connections – physical, ideological and psychic – between blacks in Britain and other global black communities which have shaped and transformed the lives of Britain‟s black communities and their cultural production. The thesis is divided into three chapters: the USA (chapter 1), the Caribbean (chapter 2), and Africa (chapter 3). Each chapter represents a specific geo- cultural-political space with which black British theatre has an important relationship. Each chapter follows the same broad structure: the first half of the chapter establishes a particular transnational process and mode of analysis which frames the ensuing historical discussion; the second half is devoted to an analysis of two contemporary black British dramatists. -
Black and Asian Theatre in Britain
Black and Asian Theatre in Britain ‘An important and long overdue book on the huge contribution that Black and Asian artists have made and continue to make to Britain’s theatrical landscape.’ – Meera Syal Black and Asian Theatre in Britain is an unprecedented study tracing the history of ‘the Other’ through the ages in British theatre. The diverse and often contradictory aspects of this history are expertly drawn together to provide a detailed background to the work of African, Asian, and Caribbean diasporic companies and practitioners. Colin Chambers examines early forms of blackface and other representations in the sixteenth century, through to the emergence of black and Asian actors, companies, and theatre groups in their own right. Thorough analysis uncovers how they led to a flourishing of black and Asian voices in theatre at the turn of the twentyfirst century. Figures and companies studied include: • Ira Aldridge • Indian Art and Dramatic Society • Henry Francis Downing • Temba • Paul Robeson • Edric and Pearl Connor • Errol John • Tara Arts • Mustapha Matura • Yvonne Brewster • Dark and Light Theatre • Tamasha • The Keskidee Centre • Talawa. Black and Asian Theatre in Britain is an enlightening and immensely readable resource and represents a major new study of theatre history and British history as a whole. Colin Chambers was Kingston University’s first Professor of Drama. Formerly a journalist and theatre critic, he was Literary Manager of the Royal Shakespeare Company from 1981 to 1997. His books include The Story of Unity Theatre (1989), the awardwinning biography Peggy: The Life of Margaret Ramsay, Play Agent (1997), The Continuum Companion to Twentieth Century Theatre (editor, 2002), Inside the Royal Shakespeare Company (2004) and Here We Stand (2006). -
Tunde Jegede
TUNDE JEGEDE SELECTED CREDITS KHARTOUM OFFSIDE (2019) THE EMIDY PROJECT (2018) (The Emidy Project was officially recognised by UNESCO as a world Slave Heritage Narrative of historical and cultural significance) THE FIRST GRADER (2010) 500 YEARS LATER (2005) FRANZ FANON: BLACK SKIN, WHITE MASK (1996) BIOGRAPHY Tunde Jegede is a composer, producer, cellist and kora player who has been steeped in the traditions of European and African Classical music for the last 30 years. From an early age, Tunde was uniquely schooled in both Western and African Classical Music. He attended the Purcell School of Music, UK's first specialist music school conservatoire and also studied the music of the Kora (African Harp-Lute) and the Griot tradition under the Gambian Master of the Kora, Amadu Bansang Jobarteh. From this unusual parallel education, Tunde gained a deep understanding and appreciation of both forms of music and their distinct legacies, and all these strands and influences have since informed his music and work as an instrumentalist, teacher, and international classical composer. As a child Tunde wrote poetry at the Keskidee Centre, where his father was the resident artist. There at the UK 's first Black Arts Centre, he was surrounded by singers, writers and poets such as Bob Marley, Linton Kwesi Johnson, Edgar White, Len Garrison and Walter Rodney. At the same time he was also a chorister in a boys’ choir that toured Cathedrals across the country and all these early influences contributed to his growing perception of music and the word. By the age of 15 Tunde had been exposed to various musical idioms and his love of Western and African Classical music, gave birth to a growing interest in Jazz and its related art-forms. -
Penn Law Journal: the New Digital Divide PENN LAW JOURNAL UN IVERSITY of PENNSYLVANIA FALL 2010 VOLUME 45, NUMBER 2
et al.: Penn Law Journal: The New Digital Divide PENN LAW JOURNAL UN IVERSITY OF PENNSYLVANIA FALL 2010 VOLUME 45, NUMBER 2 The Music Bar page 22 Un-Common Lawyers page 30 Breaking New Ground page 39 Published by Penn Law: Legal Scholarship Repository, 2014 1 Penn Law Journal, Vol. 45, Iss. 2 [2014], Art. 1 Penn Law Journal has gone green. As a green publication, we will only use paper and choose printers who meet certified environmental practices. In doing so, we will contribute to conservation efforts and act as good stewards of the environment. {"\ This publication was printed on recycled paper that meets •fi the EPA standard with 15% post consumer waste fiber. o Green Seal certified o Green-e® certified o Made with wind-generated electricity o Acid free and arch ival o Elemental chlorine free MIX J;j Paper from FSC ro$pons1ble sources --w·~ FSC" C011936 https://scholarship.law.upenn.edu/plj/vol45/iss2/1 2 et al.: Penn Law Journal: The New Digital Divide PENN LAW JOURNAL FEATURES The New Digital Divide 14 BY MA RK E YER LY Good bye Gutenberg, Hello e-bo oks. T here's a lot to so rt out with the advent of electron ic pu blishing. Should au thors a nd publishers mai ntain excl usive rights across pl atforms? O r should in fo rmatio n he unencumbered and set free? R. Bruce Rich L'73 and 1\ lichael Boni L'88 are doing much of t he sorting, and coming to very d ifferent conclusions. -
Charles Marowitz and the Personal Politics of Shakespearean Adaptation
Charles Marowitz and the Personal Politics of Shakespearean Adaptation Submitted by Karen R. Rickers to The University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, March 2012 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 To my parents, Douglas and Edna Rickers, with gratitude and love. 2 Abstract This thesis comprises an exploration of the Shakespearean adaptations created by American director Charles Marowitz while he was Artistic Director of the Open Space Theatre in London, UK. In order of creation, they are: Hamlet (1964; revised 1966); A Macbeth (1969); An Othello (1972); The Shrew (1973); Measure for Measure (also called Variations on Measure for Measure) (1975); and Variations on the Merchant of Venice (1977). The central inquiry of this thesis is whether Marowitz’s Shakespearean adaptations adhered to his own parameters for such work, and if not, whether his objectives were subverted by other factors, political or psychological, which he unconsciously manifested dramatically within the works. Further, do Marowitz’s reconstructions of Shakespeare possibly spring from a latent desire to attack the cultural authority of Shakespeare himself? In order to accomplish this inquiry, the concept of ‘personal politics’ will be established, this being both the political orientation of an individual in terms of social government, as well as the underlying belief systems and paradigms which influence their perceptions and reactions, as factors influencing Marowitz’s adaptations. -
The Great Class of 1953
The Great Class of 1953 In this Edition, the last for 2014: News from Hanover and the College-- Al Report on the Maxi-Mini in Philadelphia—Charlie Class News and Notes -- Mark Further News, Views, Clues and Cues – Dave Collins Corner Since we last wrote, The Big Green has started Ivy League play with some success. We now stand at 4 and 1 with a loss only to unbeaten Harvard. It’s a three-way tie for second place as of today (Nov 11), with Dartmouth, Princeton and Yale. We have Brown and Princeton still to play. A nice turnaround for Dartmouth football ‘The Philadelphia mini-maxi was a great success. We lost a few players at the last minute but those who attended had a wonderful time. We stayed at the lovely and historic Union League Club had a wrap up dinner at the Pyramid Club. Visits to other historic places, gardens and museums, all noted in prior newsletter pieces from Charlie and Phil. The wonderful Barnes Museum in its new location and expanded site was also on the docket. Those who enjoyed the trip were Lynn Atherton, Put and Marion Blodgett, Blos Blum, Charlie and Charlotte Buchanan, Al Collins, Dave and Cynthia Donovan, John and Bobbie Dickason, Phil and Helga Fast, Bob and Carol Henderson, Elena Kingsland, Ron and Liliane Lazar, Dick and John Loewenthal, Ginger Schoder, Grafton and Adrianne Sieber, Gil and Timmy Shapiro and Jean Vitalis. We had a busy schedule being wined, dined and entertained, but also had plenty of time to visit and catch up with one another.