Getting Away from the Noise
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TIDE Salon — Transcript PDF Accessible Text Descriptions and Transcription Produced by Harriet Smith Hughes
1 TIDE Salon — Transcript PDF Accessible text descriptions and transcription produced by Harriet Smith Hughes. Table of Contents Funder’s Introduction Landing Page Introduction to TIDE: by Nandini Das TIDE Salon Introduction Icons and Journey Map Website Footer TIDE Salon Credits Embarkation ‘Alien’ Keyword Alien — Final composition Alien — Keyword essay Alien — Project Archive First project Zoom — all participants Alien — Mid-composition Project WhatsApp Alien — Pre-composition Artist Research Alien — Artist’s experimentation, Zia Ahmed Alien — Post-composition Project Zoom Alien — Steven Savale reflects Alien — Artist Profiles Alien — Fragment by Preti Taneja Alien — Biography of Preti Taneja ‘Traveller’ Keyword Traveller — Final Composition Traveller — Keyword essay Traveller — Project Archive Traveller — Freeplay experiments Traveller — Acoustic live play Traveller — Collaboration WhatsApp 1 Traveller — Collaboration WhatsApp 2 Traveller — Artists’ Project Zoom Part 1 2 Traveller — Artists’ Project Zoom Part 2 Traveller — Post-composition Project Zoom Traveller — Shama Rahman reflects on the project Traveller — Artist Profiles Traveller — Fragment by Preti Taneja ‘Savage’ Keyword Savage — Final composition Savage — Keyword essay Savage — Project archive Savage — Artists’ Project Zoom Part 1 Savage — Ms Mohammed’s Experimentation and Live Takes Savage — Sarathy Korwar’s experimentation Savage — Artists’ Project Zoom Part 2 Savage — WhatsApp / Email Collaborations Savage — Post-composition Project Zoom Savage — Ms. Mohammed reflects on the process Savage — Artist Profiles Savage — Fragment by Preti Taneja Funder’s Introduction [Black background with text, headed by three logos: the TIDE logo; the Oxford University logo; and the ERC, European Research Council logo.] The TIDE project is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement no. -
Family, Citizenship and Islam Downloaded by [National Library of the Philippines] at 23:24 05 November 2017 Studies in Migration and Diaspora Series Editor: Anne J
Downloaded by [National Library of the Philippines] at 23:24 05 November 2017 FAMILY, CITIZENSHIP AND ISLAM Downloaded by [National Library of the Philippines] at 23:24 05 November 2017 Studies in Migration and Diaspora Series Editor: Anne J. Kershen, Queen Mary University of London, UK Studies in Migration and Diaspora is a series designed to showcase the interdisciplinary and multidisciplinary nature of research in this important field. Volumes in the series cover local, national and global issues and engage with both historical and contemporary events. The books will appeal to scholars, students and all those engaged in the study of migration and diaspora. Amongst the topics covered are minority ethnic relations, transnational movements and the cultural, social and political implications of moving from ‘over there’, to ‘over here’. Also in the series: London the Promised Land Revisited The Changing Face of the London Migrant Landscape in the Early 21st Century Edited by Anne J. Kershen ISBN 978-1-4724-4727-2 Migration Across Boundaries Linking Research to Practice and Experience Edited by Parvati Nair and Tendayi Bloom ISBN 978-1-4724-4049-5 Human Exhibitions Race, Gender and Sexuality in Ethnic Displays Rikke Andreassen ISBN 978-1-4724-2245-3 The Somatechnics of Whiteness and Race Colonialism and Mestiza Privilege Elaine Marie Carbonell Laforteza ISBN 978-1-4724-5307-5 Secularism and Identity Downloaded by [National Library of the Philippines] at 23:24 05 November 2017 Non-Islamiosity in the Iranian Diaspora Reza Gholami ISBN 978-1-4724-3010-6 -
Queen Mary, University of London Audio Walking Tour Exploring East London
Queen Mary, University of London Audio walking tour exploring east London www.qmul.ac.uk/eastendtour 01 Liverpool Street Station 07 Brick Lane Mosque Exit Liverpool Street Station via Bishopsgate West exit (near WH Go up Wilkes Street. Turn right down Princelet Street. Then turn right Smith). You will come out opposite Bishopsgate Police Station. Press on to Brick Lane. The Mosque is 30m up on the right-hand side. Press play on your device here. Then cross Bishopsgate. Walk to Artillery play on your device. Lane, which is the first turn on the right after the Woodin’s Shade Pub. 08 Altab Ali Park 02 Artillery Passage Follow Brick Lane (right past Mosque) for 250m (at the end Brick Lane Follow Artillery Lane round to the right (approximately 130m). Artillery becomes Osborn Street) to Whitechapel Road. Altab Ali Park on the Passage is at the bottom on the right (Alexander Boyd Tailoring shop is opposite side of Whitechapel Road, between White Church Lane and on the corner). Press play on your device. Adler Street. Press play on your device. 03 Petticoat Lane Market 09 Fulbourne Street Walk up Artillery Passage. Continue to the top of Widegate Street (past At the East London Mosque cross over Whitechapel Road at the traffic the King’s Store Pub). Turn left onto Middlesex Street (opposite the lights, turn right and walk 100m up to the junction of Fulbourne Street Shooting Star Pub). Continue to the junction with Wentworth Street (on (on the left). Press play on your device. the left). Press play on your device. -
Diasporic Music in a Time of War”: Pantomime Terrors
“Diasporic Music in a Time of War”: Pantomime Terrors John Hutnyk1 Centre for Cultural Studies at Goldsmiths, University of London I increasingly find it problematic to write analytically about “diaspora and music” at a time of war. It seems inconsequential; the culture industry is not much more than a distraction; a fairy tale diversion to make us forget a more sinister amnesia behind the stories we tell. This paper nonetheless takes up debates about cultural expression in the field of diasporic musics in Britain. It examines instances of creative engagement with, and destabilisation of, music genres by Fun^da^mental and Asian Dub Foundation, and it takes a broadly culture critique perspective on diasporic creativity as a guide to thinking about the politics of hip- hop in a time of war. Examples from music industry and media reportage of the work of these two bands pose both political provocation and a challenge to the seemingly unruffled facade of British civil society, particularly insofar as musical work might still be relevant to struggles around race and war. Here, at a time of what conservative critics call a ‘clash of civilizations’, I examine how music and authenticity become the core parameters for a limited and largely one-sided argument that seems to side-step political context in favour of sensationalised – entrenched – identities and a mythic, perhaps unworkable, ideal of cultural harmony that praises the most asinine versions of multiculturalism while demonizing those most able to bring it about. Here the idea that musical cultures are variously authentic, possessive or coherent must be questioned when issues of death and destruction are central, but ignored. -
The Border, City, Diaspora: the Physical and Imagined Borders of South Asia
The Border, City, Diaspora: The Physical and Imagined Borders of South Asia Prithvi Hirani September 28, 2017 Thesis submitted in fulfilment of the requirements of the Ph.D. Department of International Politics Aberystwyth University 2017 1 Mandatory Layout of Declaration/Statements Word Count of thesis: 83,328 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Candidate name Prithvi Paurin Hirani Signature: Date 14/02/2018 STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Where *correction services have been used, the extent and nature of the correction is clearly marked in a footnote(s). Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signature: Date 14/02/2018 [*this refers to the extent to which the text has been corrected by others] STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loan, and for the title and summary to be made available to outside organisations. Signature: Date 14/02/2018 NB: Candidates on whose behalf a bar on access (hard copy) has been approved by the University should use the following version of Statement 2: I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loans after expiry of a bar on access approved by Aberystwyth University. Signature: Date 14/02/2018 2 3 Abstract The tussle between borders, identity, and territory continues to dominate politics in postcolonial South Asia. -
Extremism Report Final Edit
Seminar Report on Countering Extremism 10 March 2011 Brick Lane Mosque, 59 Brick Lane London E1 6QL Swadhinata Trust Contents Table of Contents 1. Introduction 2. Opening remarks by Julie Begum, Swadhinata Trust 1 3. Welcome address by Mr. Sajjad Miah, Vice President, Brick Lane Mosque 4. Summaries of Presentations 2 4.1 Contributors Responsible for Radicalisation 2 4.2 Overview of Preventing Violent Extremism Programme 3 4.3 Three Elements to Counter Extremism 4 4.4 Prevent Policy and Strategy 5 4.5 Promotion of Interfaith Relations 7 4.6 Community Engagement 8 5. Conclusion 9 6. Seminar Programme (Annex-1) 10 7. List of Participants (Annex-2) 11 8. Faith communities of Tower Hamlets This report was compiled and edited by Jamil Iqbal, Swadhinata Trust with the assistance of Dr Daniel Nilsson Dehanas, Bristol University & Ghaffar Hussain, Quilliam Foundation. Disclaimer for this report This report of the seminar aims at reflecting the presentations made, and the views expressed by speakers and other participants, and it does not seek to indicate any conclusive agreement between participants. The report is to be considered the host’s summary and it has not been reviewed by the speakers or other participants prior to its publication. Deviations, if any, in the report from actual expressions made at the semi- nar are incidental and unintentional. 1. Introduction The Swadhinata Trust in conjunction with the Brick Lane Mosque and with the support of London Borough of Tower Hamlets held a seminar to highlight the impediments in undermining extremist ideology that drives Muslim young people to extremist groups. -
8330 Jewish History Book
Cultural Exploring the vanishing Walks 1&2 Jewish East End night ‘hang out’. ‘The Waste’, as it was called, along Introduction Whitechapel, was another place of adventure and I worked there for a while for a man who called himself the ‘Pen By Steven Berkoff, King’. I worked for him occasional Saturdays and I believe still resident in the East End it was here that I first got my taste for acting. Eventually The East End, as I knew it from our family was re-housed to a council flat in Manor House, the brief time I spent there after N4. But for years I would take the No. 653 bus back to the the war, was a place of constant East End. I somehow found it hard to get away. activity. In the summer, my street mates and I would go swimming © Steven Berkoff 2003 by Tower Bridge; tons of sand had been placed on the shore Walk 1 and it became the Cockney’s Riviera. After a vigorous swim, it would be a treat to go to the Lyon’s teashop in Aldgate and avail ourselves of the Aldgate to Whitechapel Library goodies to be had there, tomato soup with mashed potatoes being the favourite. Artists, Cigarmakers and Markets Naturally Sunday morning in the ‘Lane’ was a must and a Starting point St. Botolph’s, Aldgate place to haggle with stamp collectors, since I was an avid Finishing point Whitechapel Library philatelist in those days. Weeknights were spent at the Oxford and St. George’s Boys Club in Berner Street, where I Estimate time 2.25 hours acquired high skills in ‘ping pong’, the working man’s tennis. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
Keyfinder V2 Dataset © Ibrahim Sha'ath 2014
KeyFinder v2 dataset © Ibrahim Sha'ath 2014 ARTIST TITLE KEY 10CC Dreadlock Holiday Gm 187 Lockdown Gunman (Natural Born Chillers Remix) Ebm 4hero Star Chasers (Masters At Work Main Mix) Am 50 Cent In Da Club C#m 808 State Pacifc State Ebm A Guy Called Gerald Voodoo Ray A A Tribe Called Quest Can I Kick It? (Boilerhouse Mix) Em A Tribe Called Quest Find A Way Ebm A Tribe Called Quest Vivrant Thing (feat Violator) Bbm A-Skillz Drop The Funk Em Aaliyah Are You That Somebody? Dm AC-DC Back In Black Em AC-DC You Shook Me All Night Long G Acid District Keep On Searching G#m Adam F Aromatherapy (Edit) Am Adam F Circles (Album Edit) Dm Adam F Dirty Harry's Revenge (feat Beenie Man and Siamese) G#m Adam F Metropolis Fm Adam F Smash Sumthin (feat Redman) Cm Adam F Stand Clear (feat M.O.P.) (Origin Unknown Remix) F#m Adam F Where's My (feat Lil' Mo) Fm Adam K & Soha Question Gm Adamski Killer (feat Seal) Bbm Adana Twins Anymore (Manik Remix) Ebm Afrika Bambaataa Mind Control (The Danmass Instrumental) Ebm Agent Sumo Mayhem Fm Air Sexy Boy Dm Aktarv8r Afterwrath Am Aktarv8r Shinkirou A Alexis Raphael Kitchens & Bedrooms Fm Algol Callisto's Warm Oceans Am Alison Limerick Where Love Lives (Original 7" Radio Edit) Em Alix Perez Forsaken (feat Peven Everett and Spectrasoul) Cm Alphabet Pony Atoms Em Alphabet Pony Clones Am Alter Ego Rocker Am Althea & Donna Uptown Top Ranking (2001 digital remaster) Am Alton Ellis Black Man's Pride F Aluna George Your Drums, Your Love (Duke Dumont Remix) G# Amerie 1 Thing Ebm Amira My Desire (Dreem Teem Remix) Fm Amirali -
THE BENGALI DIASPORA in BRITAIN: a REVIEW of the LITERATURE by Claire Alexander, Shahzad Firoz and Naaz Rashid
THE BENGALI DIASPORA IN BRITAIN: A REVIEW OF THE LITERATURE By Claire Alexander, Shahzad Firoz and Naaz Rashid Section 1: Demographic profile Section 2: History of Migration Section 3: Identity: - Politics of community - Religion - Gender/Family - Generation/Youth Section 4: Policy Issues: - Education - Employment - Housing - Poverty - Health Section 1: Demographic Profile of the Bangladeshi Community in the UK According to the 2001 census, 283,063 people of Bangladeshi heritage were living in Britain. This amounts to 0.5% of the total population of the UK and 6.1% of the ethnic minority population (unless otherwise stated, figures are based on data from the 2001 census). Of these, 154,000 people were born in Bangladesh (Kyambi 2005), which equates to 0.27% of the British population (BBC, 2005). The following table shows the growth in the Bangladeshi population since the 1950s. Table 1: Estimates of the Bangladeshi Population in the UK 1951-2001 Year (census) Total Number of Population 1951 2000 1961 6,000 1971 22,000 1981 65,000 1991 163,000 Actual 2001 283,000 (Source: Peach, 2005: 24) Age and Gender Profile The Bangladeshi population is an overwhelmingly young one, with a median age of 18 (compared to 37 for the White population) and almost 40% of the Bangladeshi population is under the age of 16. This was twice the figure for the White population more generally where only 19% were under the age of 16. Most Bangladeshis were within the 16 to 64 age group (ONS, 2002). The age structure of the newer Bangladeshi born immigrant community also followed the general trend with over ninety percent of that population aged under 45 (Kyambi 2005). -
Dhaka's Electronic Music Scene | Norient.Com 7 Oct 2021 23:30:47
Dhaka's Electronic Music Scene | norient.com 7 Oct 2021 23:30:47 Dhaka's Electronic Music Scene by Faisal Mohammed Khan Dhaka is the Detroit of Bangladesh. But it took some time. Before, the city produced its own independent scene, British Bengalis layed the ground for one of the most influential music styles in the 1990s: Asian underground. Later, Dhakas mainstream scene undermined the cultural values of the alternative scene. An essay about how Dhakas ever growing electronic music scenes are looking for unique sound identities in a globalized world. Introduction Talking about electronic music in a Bangladeshi context is a tricky business. It will seem like there are too many jargons to describe sounds that are already familiar to millions of people in Bangladesh and feel conflicted about its vague beginnings, the culture it seems to represents (including the prejudices) and its place in both the contemporary and the future music scene of Dhaka. As I will discuss further, my focus will be mostly on Dhaka as https://norient.com/index.php/stories/dhakas-electronic-music-scene Page 1 of 7 Dhaka's Electronic Music Scene | norient.com 7 Oct 2021 23:30:47 the musical hub as it constantly introduces new ideas by virtue of being the country’s most globally and nationally connected city, which is constantly trying to introduce new ideas. The electronic music scene has similarities with that of Detroit or Berlin largely in terms of how the illegal underground party scene came into being. Yet there are more dissimilarities, like the unique socio-economic situations. -
Why the East of London?
Shared Roots in Faith Why the East of London? Judaism Islam The earliest known record As with other immigrants in the of Jews in England is in East End, many Muslims came 1066 at the time of William the as traders and seamen. How- Conqueror. Jews were found to ever, the most notable arrival be useful since they were permit- came in the late 1940s which ted to undertake jobs which Chris- saw an influx of Bangladeshis, tians were not, such as money lending. searching for employment and However, in 1290 anti-Semitism was rife and escape from political unrest. In later at the order of Edward I, many Jews were massacred. years, Somali Muslims came to the East End to es- In 1655 Oliver Cromwell (a devout Christian) allowed cape civil war. Whilst Islam was the last of the three Jews to return and in 1701 a synagogue called the Be- faiths to settle in the East End its presence is argu- vis Marks Synagogue was built near Aldgate. It remains ably the most noticeable today. For example, in Brick in use and still stands today as the oldest synagogue in Lane where Muslims from Bangladesh have brought Britain. In 1881 the Czar of Russia, Alexander II was as- with them their language; which can be seen on sassinated by revolutionaries, pogroms (violent mob at- street signs, their cuisine and places of worship - the tacks against particular ethnic or religious groups) were Brick Lane Mosque; a former synagogue and church. launched against the Jewish population in Russia and The Brick Lane Jamme Masjid (‘Great Mosque’) many sought refuge in the West.