30/09/2020

Anti-capitalist ideas are not a crime!

 

 On Sunday, I read that the Department for Education (DfE) issued some guidance on Thursday for school leaders and teachers involved in setting the curriculum categorised anti-capitalism as an “extreme political stance.” 

 

According to the current UK government, it equates to “extreme political stances”, along with opposition to freedom of speech, antisemitism, desire to abolish or overthrow democracy, and endorsement of illegal activity.

 

I must say reading this piece of news on a Sunday morning in England was not something I ever expected. I moved here in 2009, to then join the BBC World Service, and always regarded England as a place of delightful and precious thinking, culture and literacy. To think that progressive ideas could now be banned from school, while I'm myself supposed to start teaching journalism again very soon makes me despair.  

 

The horror of a global pandemic and of the profound consequences of the climate crisis have shown that, on the contrary, it is high time to at least rethink capitalism to make it compatible with life again... At least!  

 

Two years ago, I was in London participating in a conference on the 200 years of the birth of German philosopher and economist Karl Marx (1818 - 1883), with remarkable British researchers, interested in socialism and anti-capitalist ideas, including Rachel Holmes, author of Eleanor Marx: A Life (2014) and Sylvia Pankhurst Natural Born Rebel (released this year), Clive Coleman and Jason Barker.


See here: https://www.bl.uk/events/karl-marx-imagined-and-the-young-karl-marx-screening 

 




 For over a decade, I had been the main researcher involved in the making of a film that became The Young Karl Marx, produced by JBA Productions and directed by Raoul Peck. 

Trailer:



Born in Rhineland-Palatinate, Marx spent most of his working life in exile, fleeing an imperial regime banning socialist ideas, and finding refuge in England for more than 25 years.

 

And Marx is buried in Highgate, North London. The event to discuss his life and legacy in Britain was hosted at the British Library, in the heart of London. The film was also shown in highly artistic venues such as the ICA in London and the Watershed in Bristol. 

 

Socialism and criticism of capitalism are entirely part of British history, and part of a healthy functioning society. It is outrageous to read a list that put anti-capitalist ideas next to crimes and denial of genocide. What could come next? Criticism of colonialism maybe? A few months ago only, the British terrorism police listed the ecological protest movement Extinction Rebellion as an “extremist ideology”. How far could this go?

 

Obviously, these sorts of guidance are highly worrisome. No country should be able, in 2020, the age of ever-flowing internet access and high achievement regarding the improvement of literacy to associate largely praised political ideas with some sort of crime. 

 

The only comfort is that many already spoke to decry this measure. 

 

The former shadow chancellor, John McDonnell said "the measures effectively outlawed reference in schools to key events in British history, and that it symbolised growing 'authoritarianism' within the governing Conservative party."

 

The economist and former Greek finance minister Yanis Varoufakis said that the guidance showed “how easy it is to lose a country, to slip surreptitiously into totalitarianism”. He added: “Imagine an educational system that banned schools from enlisting into their curricula teaching resources dedicated to the writings of British writers like William Morris, Iris Murdoch, Thomas Paine even. Well, you don’t have to. Boris Johnson’s government has just instructed schools to do exactly that.”

 

The writer and activist Tariq Ali said the new guidance was a sign of “moral and political bankruptcy”.


Among many other thinkers, researchers, authors and journalists, I on the contrary believe we should teach all forms of political economy and even to young people. Growing up in France, I did have my first classes of civic education at the age of 10, and the first in sociology and history of economy from 13. Learning about ideas, learning critical thinking is indeed the only way to prevent citizens from being unable to make strong decisions when it comes to voting.

 


NHS Workers: Why They Absolutely Deserve a Pay Rise

 

New piece for the Bylines:

NHS Workers: Why They Absolutely Deserve a Pay Rise

While the media have failed to report it widely, NHS workers have already demonstrated twice since July. Marches took place in 30 cities on 8 August, bringing together thousands of people. NHS employees held a minute’s silence for the 640 colleagues who have died during the Coronavirus crisis. Then on Saturday, 12 September hundreds of people also marched in London, Cardiff and Bristol to demand a 15% increase in their salaries. I went to march with them, as I truly believe they deserve it.

Demonstrator in Bristol – Source: Author

We are living in exceptional circumstances. Since the British government is operating through extremely confusing forms of communication, the UK has become one of the worst countries in terms of its response to the Covid-19 crisis. The main comfort and only response to a health threat of such a level remains the National Health Service itself.

Yet NHS employees keep sending us distress signals. They are overworked, exhausted and underpaid.

After the two days of protests on 8 August and 12 September, some workers are planning a third event for October. Others would even be ready to strike.

British public health workers are indeed on their knees. Lack of resources, lack of PPE, precarious and underpaid positions and staff shortages all contribute to this crisis. Since March, caregivers have only been granted the government’s appeals to us, the citizens, to applaud them every Thursday evening…

They are now claiming a 15% salary increase. And legitimately so.

NHS Workers demonstrating in Bristol – Source: Author

Many marchers I talked to at the protests in Bristol confessed to being unable to pay their bills, thinking about quitting their job or fearing going to work because of the excessive workload.

I met Alex, a young nurse who has been the coordinator of the group ‘NHS Workers Say No’ in Bristol. “This government is directly responsible for the failures regarding personal protective equipment (PPE), testing, tracing application…” he told the crowd in his speech at the march. “They failed to protect NHS employees and now they are failing once again and refusing to reward us for our sacrifices.”

The salaries of these workers have not been increased in 10 years, while this year their work has been increased tenfold by the Covid-19 crisis. One of the consequences of the lack of investment is that the NHS has found it difficult to recruit: more than 1,000 positions remain vacant. In addition, his colleagues also lack protection, masks, gloves, equipment. This is what determined Alex to act.

“We are marching against pay inequalities,” he told me. “NHS workers have been side-lined by a recent increase in public sector workers’ pay. Nurses earn an average of £6,000 less per year than 10 years ago. So we are protesting against that and to ensure that the government gives us a raise, one that we deserve. We have sacrificed a lot during this pandemic and because of the consequences of the coronavirus. This is what we are marching for.”

He regularly walks through the city to distribute flyers warning about their situation. Together with friends, they are now a group of dozens of caregivers: doctors, nurses but also medical assistants, students, physiotherapists, therapists, and many other care professionals that enable the NHS to function. A medical assistant told me on Gloucester Road, a few days before the protests: “Some are barely paid the minimum wage and that is really not enough. Now, across the country, we’re a group of 83,000 people so they’re going to have to listen to us.”

Both believe that a strike is possible if the government refuses to listen to their cry of alarm, even if they want to avoid such a measure in the midst of a pandemic. “Of course the Royal College of Nurses is against strike action,” Alex adds, “because if we strike people are likely to suffer. Sick people will lack care, and families will not receive proper support. This is why protests like these are so important for us to be heard. Because we cannot strike the same way other workers can.”

The British public supports, by more than 75%, the idea of a pay rise, as confirmed by one of the protesters. “Because not all of them can leave their posts, for obvious reasons, they need other workers’ solidarity and support. I think there should be a big demonstration organised by all the unions against all the measures of the government, their repeated lies, the lack of resources for the NHS, especially as the support to the unemployed will expire this autumn and there will be an increase in unemployment… Unions must act.”

While campaigning for Brexit, Boris Johnson had promised to protect the NHS and increase its budget. Since then, the opposite has happened. And many doctors and nurses even fear the privatisation of several branches of the public health system as well as layoffs.

Shannon, who’s been a nurse for three years, spoke during the protests, and said that although she loves her job, she often ends her day in tears. “We cry because we are overwhelmed, overworked and exhausted. People ask me: can you cope? Well actually, no, not really, but there’s no staff, so we’re going to have to try. First-year nurses have to take on a lot of responsibility, to manage even when it is beyond their skills and confidence. We have to ask: as a society, what do we value? Don’t we deserve a 15% increase? Don’t we deserve to end the month without needing to borrow money, because our wages no longer compensate for inflation? We live in a country that can afford to help its citizens. We can afford to support the NHS.”

This is an illustration of the agony of the country’s public services.


27/09/2020

Autumnal News//Letter: From Bristol to Beirut...and Back (virtually)

 

Dear friends and readers,
  
 
 
I hope this message finds you all well. September is for many the beginning of the new year... And I hope this will be for you the best possible renewal. 

As for me, I'm still in Bristol, preparing courses for UWE, looking at the future of journalism... Not a small task! 

And mainly, writing and podcasting.

This seasonal, quarterly electronic letter is to share some news and new writing!
Hope you'll like it. 





New Cultural Review 
  
During the summer though, I've been invited to collaborate to a wonderful project, launched by a literary journalist from L.A., California, Moroccan/French/American, currently based in Montpellier, France (not Bristol!)

 


The Markaz Review (TMR), a non-profit publication, and an intellectual and literary destination that seeks to erase the boundaries between peoples and celebrate culture.




TMR publishes reviews and essays continuously in English, Arabic, French and Spanish, and a monthly special edition of arts and cultures, featuring columnists from diverse locations worldwide. TMR will also present online art galleries as well as live performances, short films, discussion groups and presentations/Q & As with world experts.

We've been working all summer on this project and the first issue is finally here!
 It is dedicated to Lebanese artists and thinkers, and features great contributions from wonderful people.
Have a look! 


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New Platform

During the summer, I've been invited to collaborate to a new website, here in England, part of a great network working on independent journalism:


A website for progressive, internationalist journalism from across the West of England, fearlessly speaking truth to power.

In this era of uncertainty, tension and upheaval, they believe that the need for reliable journalism has become all-the-more important. And so do I! 

West England Bylines – like its partner publications in other regions through the Byline Times banner – has been created to meet this need.


My first article for them: 




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PODCASTs

Meanwhile, our Podcast, The Quarantini, has reached 22 episodes and will continue until 2021... 

There will be more good news, more great interviews and a new rhythm, once or twice a month: 
The Quarantini:

Episode 22 has a very special guest: Former Wellington Mayor and Green Party candidate Celia Wade-Brown in the next election in New Zealand.  



Episode here: 

A Quarantini with NZ Green Party candidate Celia Wade-Brown

We're now moving forward with a different rhythm, with one or two episodes per month. All previous episodes here: 


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This new podcast series has also coming out this month:

BCfm launches Bristol oral history podcast


The series created by Marcus Smith is in partnership with Bristol Museums, Bristol Archives, UWE Bristol and funded by the National Lottery Heritage Fund. 

Each of the 12 episodes will focus on a particular Bristol neighbourhood – Barton Hill, Knowle West, Lawrence Weston, Easton, Fishponds, Hartcliffe, St George, Hillfields, Southmead, Eastville, Stockwood and Avonmouth.

Out of the 12 communities, I chose to report on Knowle West because I live in Bedminster now, South Bristol, and also because what took me to Bristol in the first place was its music scene. I thought that Flynn's story were empowering and positive.   

I hope that listeners will get to understand these 12 communities more in depth and that it'll help all of us to reconnect, especially in such a disconnecting year.  


On air since 17 September!




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BOOKS 


Finally, I have a few books in the pipelines!

And my chapter about Bristol reggae will be published in a new book by Palgrave Macmillan in late December 2020: 

Narratives from Beyond the UK Reggae Bassline -
The System is Sound



My main book project is however the result of my writing residency at the Arnolfini, and will come out here in Bristol in the spring. 

For now, my writing is on the Arnolfini's website!
And more details are to come during Black History Month in October... 
Get in touch if you want to know more. 

In the meantime, my latest piece linked to the Arnolfini is this feature on Hassan Hajjaj:





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Thank you very much for your interest and support.
It's all hard work and passion, that is what keeps us going.

For now, I'm also going back into lecturer mode, hoping to contribute to the future journalism...
  
Wishing you all the best for this last part of the year. 


Warm regards,
melissa 



Melissa Chemam
Writer, Cultural Journalist, Reporter
UK Correspondent for European Media
Contributor @ The Markaz Review
Writer-in-residence @ Arnolfini Gallery
Associate Lecturer @ UWE Bristol


25/09/2020

Welcome to The Markaz Review

 And... The Markaz Review is here!





Markaz signifies “the center” in Arabic, Persian, Turkish, Hebrew, Urdu. 

TMR is an international platform for positive inquiry, criticism, performance and dialogue that explores the arts, humanities and current affairs:


Explore!





Beirut • September 2020



Our first editorial announces our debut issue devoted to Beirut.




  Wajdi Mouawad

It’s Time for a Public Forum on Lebanon

Overcome by the staggering violence of the explosion that ravaged Beirut in August, Paris-based playwright and director Wajdi Mouawad suggests that a world public forum must condemn Lebanon’s ruling class.

Read More



  Melissa Chemam

Wajdi Mouawad, Just the Playwright for Our Dystopian World

Wajdi Mouawad has shaken Western theatre out of its rigid rules, bringing a dream-infused approach, odes to childhood’s energy and a sense of adventure, rooted in his Lebanese culture and fascination for great Greek tragedies.

Read More


  Jenine Abboushi

Beirut In Pieces

In this wide-ranging essay, the writer revisits life before and after the civil war, participates in Lebanon’s revolution, imagines the country’s monetary implosion, and contemplates the Port of Beirut explosion—all while weighing the social terms of Lebanon's political renewal.

Read More




As the Covid-19 crisis is moving toward a second wave, forcing cities and some countries into more quarantines and further lockdown, without music, cinema, literature and artistic events, can we hold on much longer?




From Lockdown to 4 Indies in a Week — Why Cinema Matters





24/09/2020

Reportage : manifestations des salariƩs de la santƩ au Royaume-Uni


Dernier en date :  


VU D'ALLEMAGNE

GrĆØves et manifestations des salariĆ©s de la santĆ© en Allemagne et au Royaume-Uni

Plus de deux millions de salariĆ©s du secteur public sont appelĆ©s Ć  se mettre en grĆØve en Allemagne cette semaine. Les syndicats exigents des augmentations de salaire. Les salariĆ©s des services de soins et d'aide Ć  la personne sont particuliĆØrement remontĆ©s. Des grĆØves qui font Ć©cho Ć  l'actualitĆ© au Royaume-Uni oĆ¹ les manifestations des salariĆ©s des hĆ“pitaux se multiplient.



Manifestations et menaces de grĆØve depuis plusieurs semaines dans le secteur de la santĆ© au Royaume-Uni. Les 1 million et demi de salariĆ©s britanniques de la santĆ© publique n’en peuvent plus, eux non plus. Manques de moyens, postes prĆ©caires et sous-payĆ©s, les soignants n’ont eu droit pour tout remerciement du gouvernement que des appels Ć  les applaudir chaque jeudi soir…

Le gouvernement britannique a accordĆ© une augmentation Ć  900 000 salariĆ©s de diffĆ©rents secteurs publics en juillet, dont les mĆ©decins les plus qualifiĆ©s. Mais il a exclu la plupart des travailleurs hospitaliers, renvoyant Ć  des nĆ©gociations dans un an. Alors les salariĆ©s du secteur de la santĆ© rĆ©clament dĆ©sormais 15% d’augmentation de salaire. Reportage auprĆØs d’eux de MĆ©lissa Chemam.


Pour Ć©couter: https://www.dw.com/fr/grĆØves-et-manifestations-des-salariĆ©s-de-la-santĆ©-en-allemagne-et-au-royaume-uni/av-55038718?maca=fra-tco-dw



21/09/2020

Interview with Celia Wade-Brown, Green Party candidate and former Mayor of Wellington

 

The latest on our podcast....

How to deal with Covid-19 without forgetting the boiling question of the climate emergency?

Here are great insight into practices from New Zealand:


A Quarantini with NZ Green Party candidate Celia Wade-Brown

We go to the other side of the planet this week to hear from Green Party candidate and former Mayor of Wellington, New Zealand Celia Wade-Brown. 

Find out how she feels New Zealand has handled the Covid Crisis and why she thinks The Climate Emergency is more important. 

We have our usual round up of positive responses to the virus from around the world....

Plus, courtesy of Funnel Music, music from Katy Pearson's debut album 'Return', due to be released on 13/11/2020 via Heavenly Recordings. 

Music: 

Fix Me Up, Katy Pearson

Opening music: Hot Flu, The Old Bones Collective

Hosts: Melissa Chemam and Pommy Harmar

Producer: Pommy Harmar


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17/09/2020

Skin Deep Meets Hassan Hajjaj

 

ArtPeopleSkin Deep Meets  


‘The Path’ by artist Hassan Hajjaj opened at the Arnolfini Gallery in Bristol on 30 July 2020. As writer in residence at the Arnolfini, Melissa Chemam was invited to organise a Zoom conversation with Hajjaj, and had the pleasure to meet him soon after in the gallery during the installation.


Born in Morocco, raised in London, Hassan Hajjaj is no stranger to Bristol. In the 1980s he was heavily involved in sound system clashes with DJs from Bristol, like the Wild Bunch. He befriended some of their members: Nellee Hooper (who a few years later joined Jazzie B and the band Soul II Soul), and Daddy G (who soon participated in founding the unconventional music collective Massive Attack). Hajjaj has long been a fan of Roni Size’s drum’n’bass sound, which emerged in Bristol and London in the mid-1990s.

Music – and in particular that type of underground, DIY electronic music – has always been part of Hajjaj’s world and work.

“Our immigrant neighbourhood as kids, in East London, became my melting pot,” Hajjaj told me. “My training happened in the streets more than anywhere else, among friends. We didn’t have much places to hang out, so we just met in the corner of our parents’ place! But we were all driven by our desire to be a part of this London scene. We wouldn’t go to university. Later, one became a cook, another friend a video maker, another a fashion designer, many others worked in music.” And Hassan was always contributing.

Since the late 1990s, his film and photography work has been inspired by London’s immigrant cultures. It has now toured the world, graced the covers of the likes of Vogue, and Hajjaj has worked with Billie Eilish and fellow Moroccan singer Hindi Zahra. 
 
As a result, Hajjaj’s work is an invitation to a clashing voyage, full of unexpected encounters, vibrant colours and patterns. 

An image of artwork Kesh Angels by Hassan Hajjaj, a photograph of five Black figures wearing colourful clothing and sunglasses on motorbikes and mopeds. Around the edge of the photograph, tins of olives sit in a white frame.
Hassan Hajjaj, Kesh Angels


‘The Path’ is a timely exploration of global culture across continents through the unique lens of the acclaimed photographer, confronting his dual-identity. It references his personal journey from his birthplace in Larache, Morocco, to London, and now beyond, through his experience working around the world.

“I first grew up in Morocco, a world in technicolour compared to England,” Hajjaj added, “and when I arrived in London at the age of 13 I felt like I had landed in a film noir.”

In East London, Hajjaj’s crowd was full of Jamaican, Pakistani, Indian, Bangladeshi, African young people, though he was the only Moroccan. Their arts didn’t come from galleries but from radio and television, infused with a love of reggae and hip-hop.  

“I was documenting our otherness, I think,” Hajjaj said. “That’s why there is colour in my work, addressing religion a bit, and a touch of politics. You know, I left school at 15, with no qualifications. My friends and I were too uncomfortable to go to a museum or a gallery, a world far away from us. So as a group of creative people we just nourished each other. I used to programme the parties, I would find the DJs, etc. And had a small boutique for street wear called RAP that became a meeting point for us, and for other untrained artists.”
 
There is something in Hajjaj’s work that permanently defies the rules of academic art, constantly redefines what beauty is and how humour can meet glamour. His photographs, in a museum, feel like bold statements. They were however exhibited in the prestigious Maison EuropĆ©enne de la Photographie in Paris in 2019. 
 
Unlike most Morrocan immigrĆ©s, Hajjaj’s parents didn’t move to France, Morocco’s former coloniser. What made him truly confident in his original gaze was the melting pot of Shoreditch and later on Camden.

An image of artwork 'Dotted Peace' by Hassan Hajjaj. A photograph of a seated woman wearing a long white garment with black polka dots, a matching head covering and an orange scarf over part of her face. She is in an outdoor setting with architecture visible behind her. Surrounding the photograph are tins of food set into a wooden frame.
Hassan Hajjaj, Dotted Peace

‘The Path’ represents the two parts of Hajjaj’s journey, in Morocco then London. It includes a collection of portraits and scenes representing women in Muslim dresses, their faces covered by bright and playful veils or hijabs, plus portraits of African artists. These images stand out in our weird year 2020, its abnormality, showing how masks and social distance could actually be, in another culture, the norm, and how black artists could take centre stage.

The exhibition aims to celebrate Black culture. In the second part of the show, we see portraits of African musicians wearing clothes designed by Hajjaj that reference modern African patterns and habits, in bright yellow, purple and green. Among them are Boubacar Kafando, Mandisa Dumezweni, Luzmira Zerpa. Titled ‘My Rock Stars’, the portraits shine with energy and joy. In the last room, the visuals suddenly animate when the photos become short films, in which each of the photographed artists interpret a song a cappella or with their own African instrument .

“The title comes from the name of one of my favourite albums, The Path by Ralph MacDonald, which recreated the history of African music up to jazz,” Hajjaj explained. “It’s both the story of my journey from North Africa, and the journey of all the newcomers I grew up with.”

While Bristol is still in the midst of boiling debate after the removal of Edward Colston’s statue, a slave trader from the 17th century long celebrated as the main local benefactor of the city, Hajjaj’s set of daring images stuns in response to the narrow-mindedness that led to Colston’s white-washed ‘benevolent philanthropist’ status in the first place. That same white-supremacist attitude also recently led small groups to organise protests asking for the statue to be brought back to its plinth.

Bristol people, curators, writers and artists, are indeed still debating weekly the urgent need to decolonise museums and art galleries, to truly confront colonial history and to give more space to immigrant artists and creatives representing other cultures. But many others are more concerned by the growing number of foreigners, or simply outsiders, overshadowing the rights of the “native Bristolians”.
 
Yet ‘The Path’, with its explosion of colours and liveliness, is a welcome celebration of joy, DIY ethos, optimism and togetherness, in times of crisis and distancing – just like Bristol’s groundbreaking culture was in the 1980s, with the emergence of a bursting graffiti scene, vibrant reggae-infused sound systems and a new sound that was later embodied in Massive Attack’s first album Blue Lines in 1991. Fittingly, these young artists were exhibited for the first time at the Arnolfini in 1985, in the exhibition Graffiti Art, where the likes of Goldie and New York graffiti artists Brim and Bio joined the party led by the Wild Bunch. ‘The Path’ is part of a multicultural journey that is still ongoing.

An image of the artwork Beirut Windows. A photograph showing a grid of balcony windows seen from outside with matching striped curtains. A few people can be seen, laundry hangs on lines and railings. The photograph is in a pale green patterned wooden frame.
Hassan Hajjaj, Beirut Windows


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‘The Path’ by artist Hassan Hajjaj opened at the Arnolfini Gallery in Bristol on 30 July 2020, after a first iteration at New Art Exchange, Nottingham, as a touring exhibition curated by Ekow Eshun. The artist also has a show in South Korea, ‘A Taste of Things to Come’, which opened on 5 August at the Barakat Contemporary Gallery in Seoul.


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