"'Thirteen Dead and Nothing Said'." Darcus Howe
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Darcus Howe: a Political Biography
Bunce, Robin, and Paul Field. "Authors' Preface." Darcus Howe: A Political Biography. London: Bloomsbury Academic, 2014. viii–x. Bloomsbury Collections. Web. 29 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 20:11 UTC. Copyright © Robin Bunce and Paul Field 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Authors ’ Preface Writing this book has involved many wonderful experiences. Hours in archives are, of course, the historian ’ s delight, and we thank the staff at the National Archives, the Institute of Race Relations, the George Padmore Institute, the British Library, the Colindale Newspaper Archive, Warwick University Library, Cambridge University Library, the Butler Library at the Columbia University and the archives of the Oilfi eld Workers Trade Union of Trinidad and Tobago, to name but a few. We have spent many hours being entertained by our interviewees. Early on in the project, we had the good fortune to spend an aft ernoon with Farrukh Dhondy. ‘ I expect you want me to tell you all the scandal, ’ was his opener. We earnestly assured him that we were writing a serious political piece, adding that we couldn ’ t believe that there would be enough scandal to fi ll a single page. ‘ Th ere ’ s enough to fi ll seven volumes! ’ , he retorted. One of the stranger experiences, only obliquely related to the project, was an Equality and Diversity training session that one of us was compelled to attend in the summer of 2011. -
The Arts of Resistance in the Poetry of Linton Kwesi Johnson1
Revista África e Africanidades - Ano 3 - n. 11, novembro, 2010 - ISSN 1983-2354 www.africaeafricanidades.com The arts of resistance in the poetry of Linton Kwesi Johnson1 Jair Luiz França Junior2 Resumo: Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson (também conhecido como LKJ). A qualidade sincretista na obra desse poeta relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós- coloniais, em geral, irão enquadrar esta análise de estratégias de dominação e resistência, mas algumas discussões a partir do domínio de história, sociologia e estudos culturais também poderão entrar no debate. Neste sentido, há uma grande variedade de teorias e argumentos que lidam com as contradições e incongruências na questão das relações de poder interligada à dominação e resistência. Para uma visão geral do debate, este estudo compõe uma tarefa tríplice. Primeiramente, proponho-me a fazer um breve resumo autobiográfico do poeta e as preocupações sócio-políticas em sua obra. Em seguida, apresento algumas leituras críticas de seus poemas a fim de embasar teorias que lidam com estratégias de dominação e resistência no âmbito da literatura. Por fim, investigo como estratégias de resistência diaspórica e hibridismo cultural empregados na poesia de Linton Kwesi Johnson podem contribuir para o distanciamento das limitações de dicotomias e também subverter o poder hegemônico. Além disso, este debate está preocupado com a crescente importância de estudos acadêmicos voltado às literaturas pós-coloniais. -
The Arts of Resistance in the Poetry of Linton Kwesi Johnson
THE ARTS OF RESISTANCE IN THE POETRY OF LINTON KWESI JOHNSON AS ARTES DA RESISTÊNCIA NA POESIA DE LINTON KWESI JOHNSON JLFrança Junior* Resumo Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson. A qualidade sincretista em sua obra relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós-coloniais, em geral, irão enquadrar esta análise. Este estudo está organizado em três debates fundamentais: um breve relato biográfico do autor e a contextualização sociopolítica em que sua obra se insere, alguns exames críticos da poesia de LKJ e um estudo das estratégias de resistência diaspórica e hibridismo cultural empregados na sua poesia. Este artigo visa, portanto, a fazer uma análise literária de poemas pós-coloniais como técnicas estratégicas de descentramento da retórica ocidental dominante, a qual tenta naturalizar desigualdades e injustiças em ambos os contextos local e global. Palavras-chave: Poesia Contemporânea, Crítica Pós-colonial, Diáspora, Crioulização, Resistência. Abstract This paper analyses insubordination and resistance manifested in contemporary postcolonial poetry as ways of subverting dominant Western discourses. More specifically, I focus my analysis on textual strategies of resistance in the works of the British-Jamaican poet Linton Kwesi Johnson. The syncretistic quality in his oeuvre is related to diaspora, hybridity and creolisation as forms of writ[h]ing against (neo)colonially-based hegemonic discourses. Thus postcolonial critiques at large will frame this analysis. -
Linton Kwesi Johnson: Poetry Down a Reggae Wire
LINTON KWESI JOHNSON: POETRY DOWN A REGGAE WIRE by Robert J. Stewart for "Poetry, Motion, and Praxis: Caribbean Writers" panel XVllth Annual Conference CARIBBEAN STUDIES ASSOCIATION St. George's, Grenada 26-29 May, 1992 LINTON KWESI JOHNSON: POETRY DOWN fl RE66flE WIRE Linton Kwesi Johnson had been writing seriously for about four years when his first published poem appeared in 1973. There had been nothing particularly propitious in his experience up to then to indicate that within a relatively short period of time he would become an internationally recognized writer and performer. Now, at thirty-nine years of age, he has published four books of poetry, has recorded seven collections of his poems set to music, and has appeared in public readings and performances of his work in at least twenty-one countries outside of England. He has also pursued a parallel career as a political activist and journalist. Johnson was born in Chapelton in the parish of Clarendon on the island of Jamaica in August 1952. His parents had moved down from the mountains to try for a financially better life in the town. They moved to Kingston when Johnson was about seven years old, leaving him with his grandmother at Sandy River, at the foot of the Bull Head Mountains. He was moved from Chapelton All-Age School to Staceyville All-Age, near Sandy River. His mother soon left Kingston for England, and in 1963, at the age of eleven, Linton emigrated to join her on Acre Lane in Brixton, South London.1 The images of black and white Britain immediately impressed young Johnson. -
"Fight to the Finish." Darcus Howe: a Political Biography. London: Bloomsbury Academic, 2014
Bunce, Robin, and Paul Field. "Fight to the Finish." Darcus Howe: A Political Biography. London: Bloomsbury Academic, 2014. 253–266. Bloomsbury Collections. Web. 23 Sep. 2021. <http:// dx.doi.org/10.5040/9781472544407.ch-019>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 14:43 UTC. Copyright © Robin Bunce and Paul Field 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 9 Fight to the Finish On Monday 27 September 2010, more than a thousand people gathered to pay their last respects to Frank Crichlow. Th e funeral, the culmination of a week of mourning, took place at St Mary ’ s of the Angle on Morehouse Road. Th e congregation and many more, who could not fi t into the packed church, processed through Notting Hill to the West London Crematorium. Th e size and diversity of the crowd was a testament to the breadth of respect that Crichlow commanded. Th e mourners included the biggest names from Britain ’ s Black Power Movement including Howe, Althea Jones-Lecointe and her husband Eddie who had fl own in from Trinidad for the occasion, as well as Rhodan Gordon. Th ere were also more mainstream black activists and politicians such as Lee Jasper and Paul Boateng; the fi lm maker Horace Ové and hundreds of ordinary people, not political in any obvious sense, whose lives Crichlow had touched. Boateng gave the eulogy, recalling Crichlow ’ s activism, his smile, and his ‘ grace under pressure, and boy was there pressure ’ (Boateng 2010). -
Self-Determination Activist and Writer Darcus Howe
In Memoriam: Self-Determination Activist and Writer Darcus Howe The broadcaster and writer Darcus Howe, who has died aged 74, once described himself as having come from Trinidad on a “civilizing mission”, to teach Britons to live in a harmonious and diverse society. His aims were radical, and he brought them into the mainstream by articulating fundamental principles in a strikingly outspoken way. After his initial experience of racial tension in Britain at the start of the 1960s, Howe became active in the Black Power movement in the US and the Caribbean. In August 1970, having returned to London, he organized, with Althea Jones-Lecointe and the British Black Panthers, a campaign in defense of the Mangrove restaurant. Established and run by Frank Crichlow, the Mangrove was a small piece of decolonized territory in Notting Hill, west London. When police attempted to close it, Howe came to his friend’s aid, organizing a march. Entirely peaceful until the police intervened in overwhelming numbers, it led to a spontaneous melee, the melee to arrests, and the arrests to the biggest Black Power trial in British history. 2 Africology: The Journal of Pan African Studies, vol.10, no.3, May 2017 For 55 days Howe and Jones-Lecointe led the defense of the Mangrove nine – themselves, Crichlow and six others – from the dock of the Old Bailey. Howe demanded an all-Black jury, a claim he rooted in the Magna Carta. The judge rejected this, but the nine had stamped their authority on the case. Howe subjected the prosecution to forensic scrutiny. -
Linton Kwesi Johnson's Dub Poetry and the Political
Linton Kwesi Johnson’s Dub Poetry and the Political Aesthetics of Carnival in Britain British dub poet Linton Kwesi Johnson (LKJ) moved to Britain from Jamaica on the cusp of adolescence in 1963. He arrived in the metropolis during a time of tremendous social and cultural ferment. Living in Brixton, South London, LKJ was quickly immersed in the radical currents that circulated throughout the Black and Asian diasporic world at the time. The Black Panthers, whose youth wing he joined while still attending secondary school, exposed LKJ to the fertile blend of socialist political- economic analysis and Black consciousness that characterizes the internationalist strands of the Black radical tradition.1 In addition, as a young member of the Caribbean Arts Movement (CAM) in London during the early 1970s, LKJ participated in the ground- breaking debates that took place within that organization concerning the appropriate forms and themes of artistic production among members of the Caribbean exile community in Britain.2 Popular culture acquired increasing significance as these artists struggled, under the weight of the increasingly incendiary political events of the period, to forge a role for themselves as artists and popular leaders. Following the lead of figures like Edward Kamau Brathwaite, LKJ sought to craft his own poetic language in order to overcome the traditions of linguistic and mental colonization imposed by the educational apparatus in the British colonies of the Caribbean. He found a model for his own work in what he called the dub lyricist: Jamaican and Black British deejays who would ‘toast’ or invent improvised rhymes over the heavy rhythm tracks of reggae dub records. -
Mangrove & BLM Protests Presentation Slides by Ife Thompson, Co-Founder of Black Protest Legal Support
01 Mangrove 9- BLM 2020- Black Resistance By Ife Thompson-Writer, UN Fellow, Lawyer & BLAM/BPLSFounder @Blamcharity @blkprotestlegal www.blamuk.org Quote “Black revolutionaries do not drop from the moon. We are created by our conditions. Shaped by our oppression. We are being manufactured in the droves in the ghetto streets”- Assata Shakur Mangrove Restaurant Invasion of the Mangrove restaurant piece by Race Today notes : During the Steel Band competition in run up to carnival, the police invaded and attacked the restaurant. The people in the restaurant were attacked by police batons and the building's windows and doors broken. This invasion led to no arrests, it had no purpose, just an excuse to attack, harass and demoralise the community. Frank Critchlow makes it clear that this targeting was because 'the presence of groups of Black people on the streets was not a palatable sight for Notting Hill police. In the first year the police raided my restaurant six times and six times they found nothing'. One officer in particular, PC Frank Pulley, ensured that the Mangrove was constantly targeted through police raids. The restaurant was raided 12 times between January 1969 and July 1970. Mangrove was also a site of cultural resistance August 1970 the Mangrove Demo Before the Brixton Uprisings Young Blacks combined under the Black power Banner to combact Police Violence and corruption inside the Black Community - Darcus Howe Conditions of Black Community in 1970s and 80s: Police Brutality, Racism in schools, White racist attacks and rise of National Front 1975 Forming of Black Parents Movement following the arrest and assault of Black School boy Cliff Mcdaniel at hands of Haringey police ( Protest outside Horsey Station and a defence fund, Black Lawyers provided pro-bono support ) In the 1970s the Radical Lawyers, Black or white who would challenge police evidence did not exist then. -
Production Notes
PRODUCTION NOTES A Note from the Director The seed of Small Axe was sown 11 years ago, soon after my first film, Hunger. Initially, I had conceived of it as a TV series, but as it developed, I realized these stories had to stand alone as original films yet at the same time be part of a collective. After all, Small Axe refers to an African proverb that means together we are strong. The anthology, anchored in the West Indian experience in London, is a celebration of all that that community has succeeded in achieving against the odds. To me, it is a love letter to Black resilience, triumph, hope, music, joy and love as well as to friendship and family. Oh, and let’s not forget about food too! I recall each of these stories being told to me either by my parents, my aunt, and by experiencing racial discrimination myself growing up in the 70s and 80s. These are all our stories. I feel personally touched by each and every one of them. My five senses were awoken writing with Courttia Newland and Alastair Siddons. Images, smells, textures and old customs came flooding back. All five films take place between the late 60s and mid 80s. They are just as much a comment on the present moment as they were then. Although they are about the past, they are very much concerned with the present. A commentary on where we were, where we are and where we want to go. When the Cannes Film Festival selected Mangrove and Lovers Rock earlier this year, I dedicated both to George Floyd and all the other Black people that have been murdered, seen or unseen, because of who they are in the US, UK and elsewhere. -
Dub Poetry - Culture of Resistance
DUB POETRY - CULTURE OF RESISTANCE Christian Habekost (Mannheim) It was the great Barbadian poet and literary critic Edward Kamau Brathwaite who wrote in his standard work on the development of a “Creole Society” about the emergence of a distinctive Caribbean culture: Whatever we did that was worthwile had to be blessed by Europe. And yet the folk tradition persisted. The drums beat from the blood, the people danced and spoke their un-English English until our artists, seeking at last to paint themselves, to speak themselves, to sing themselves, returned [...] to the roots, to the soil, to the sources.1 It is dub poetry that incorporates not only these elements of folk tradi tion Brathwaite is talking about, but blends several art forms like music, drama, poetry, literature and performance into one to produce a modern expression of pop culture that has achieved international recognition. Developing out of reggae music, which had already gained an interna tional status since Bob Marley & The Wailers had crossed the borders from 1975 on, dub poetry was able to reach an audience all around the world. The poetry took over the cultural values of the music, the revolu tionary spirit and its militant stance towards society and used the well- established channels reggae had already prepared. Yet even though dub poetry emerged when reggae was in fashion internationally, it still man aged to stay out of the vicious circle of artificial fads and promotional interests of the recording industry. Today, after reggae has returned to the ghettos where it once came from, dub poetry still enjoys international success and an increasing au dience in many countries of the world. -
"The Labels Pin Them Down"
"The labels pin them down" An Interview with Mervyn Morris by Pam Mordecail PA M Mo R 0 E C AI: There have been, I think, a fow definitions of dub poetry, and I would refer you to one that recently appeared in Ted Chamber /in 's Come Back To Me My Language.2 He talks about the business ofwhat the word "dub" originally means, which is putting just the music on the reverse side of a reggae piece and somebody else doing their own words to that music. And then he says: "Dubbing words over a musical background became common enough that dub poetry came to include any rendition incorporating reggae musical rhythms and any verse combining reggae rhythms with local speech. " How would you respond to that as a definition of dub? MERVYN MORRIS Thatmay do; I'll talk about Ted's thing in a moment. What might be more useful is for me to tell you when I first heard the tenn, and from whom under what circumstances. Because I first heard the tenn from Oku Onuora, whose name was then Orlando Wong, and his notion was that dub poetry, which he had started trying to write, was poetry that incorporated a reggae-rhythm; and you might find that you should be able to hear the reggae rhythm whether there was music playing behind the voice or not. That was sort of his central definition, which he gave me in 1979. Now, later on Oku, who personally I regard as the sort of source for a lot of my notions about what dub poetry is, because he has really been someone who's been thinking about it quite a long time - - I saw recently a documentary in Toronto, on dub poetry - and I hope I am not misinterpreting or misquoting them - but they said that dub poetry origi nated with Oku. -
Inside out 772.Pdf
Miscarriages of JusticeUK (MOJUK) 22 Berners St, Birmingham B19 2DR people on the street’. It was Howe’s organisational skills which meant that on that August day Tele: 0121- 507 0844 Email: [email protected] Web: www.mojuk.org.uk in 1970, the 150 protesters marched peacefully on police stations in Notting Hill. The mood was celebratory, some protesters echoing the Black Panthers’ style, many carrying placards bearing MOJUK: Newsletter ‘Inside Out’ No 772 (18/12/2019) - Cost £1 slogans like ‘Calling All Pigs, Freak Out or Get Out’ and ‘Power to the People’. They were out- numbered by a force of over 200 officers, standing five deep, with another 500 held in reserve. Mangrove Nine: When Black Power Took On the British Establishment This was force intent on inciting violence, and prepared to inflict it. Nicholas Reed Langen, Justice Gap: On the August 9, 1970, 150 black protesters marched The police had calculated that the best response was to overwhelm them with sheer weight against the Metropolitan Police, challenging the campaign of intimidation that had been waged of personnel, hoping that their numbers would spark a conflict, giving the officers the right to against their community. This protest set in motion the train of events that led to the trial of the arrest, charge and prosecute the demonstrators. A brief struggle at Portnall Road provided the Mangrove Nine where the power of the British state went up against black power and lost. The trial police all the justification they needed, with Howe later writing that they descended on the of the Mangrove Nine was a historical event.