23/08/2020

Brexit et double nationalité : Reportage


My last piece of reporting, in French for the German radio DW about the British exit from the EU and the rise of demands for dual citizenship (link to audio below):


DW - Brexit et double nationalité 




 Au Royaume-Uni, en plus d’une gestion désordonnée du Covid-19, la pire crise économique depuis les années 1970 a commencé. Les habitants ont peu de ressources et de plus en plus de personnes diplômées envisagent de s’expatrier… D’autant plus que le phénomène est aggravé par les conséquences du Brexit. Cela pousse des dizaines de milliers de Britanniques à demander une autre nationalité, le plus souvent irlandaise, car il suffit d’avoir un grand-parent originaire de l’île pour avoir droit au passeport. Mais les citoyens européens cherchent aussi à obtenir la nationalité britannique pour s’assurer de poursuivre une vie normale en Grande-Bretagne. Une course aux doubles nationalités qui entraînent aussi de nouveaux mouvements de migration… 
Reportage de Mélissa Chemam en Angleterre. 


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Damien McManus est bibliothécaire. Il vient de Birmingham, a vécu en France, sa sœur vit en Allemagne et leurs parents sont irlandais. Il s’est donc toujours senti Européen. Nous nous retrouvons dans un café très europhile, dans une galerie d’art internationale… Selon lui, le Brexit est une punition que les Britanniques s’infligent à eux-mêmes… Et il était important pour lui de conserver un lien avec l’UE. Sa première réaction après le référendum a donc été la double nationalité…

Damien McManus : « J’ai immédiatement contacté l’ambassade irlandaise, oui, et demander un formulaire pour avoir un passeport irlandais. Mes deux parents sont irlandais, mon père est décédé alors j’ai dû apporté les documents de ma mère : certificat de naissance, de mariage, ainsi que mon certificat de naissance, un relevé de compte bancaire, une preuve d’adresse, 80 euros, et j’ai envoyé ce dossier par la poste. Deux jours avant que le Royaume-Uni ne quitte l’UE, je recevais mon passeport par courrier. C’était rassurant de savoir que j’avais une nationalité qui me permet de faire partie de l’Union européenne… Et je l’ai fait aussi pour passer ma nationalité à mes enfants. Il faut pour cela que je leur obtienne un passeport avant qu’ils aient eux-mêmes des enfants. Mais c’est aussi une question de solidarité, pour moi c’est évident… » 

D’autres, s’inquiètent surtout de la crise économique infligée par le Brexit et renforcée par la pandémie actuelle… Ils envisagent de s’installer dans un pays européen malgré le Brexit, pour s’assurer un meilleur avenir professionnel. Les procédures côté UE sont en effet bien plus accueillantes… 

Les départs ont déjà augmenté de 30% depuis 2016, passant de 56 000 par an à 74 000. Certains parlent de “brain drain”, véritable fuite des cerveaux. 

Pour Helen Oxenham, physiothérapeute britannique mariée à un Français, prendre la nationalité française était donc vital ; leurs deux filles sont sûres de devenir bi-nationales. Elles souhaite aussi pouvoir envisager un avenir en Europe si besoin. 

Helen Oxenham : « Le Brexit m’a poussé à le faire ? Je me suis rendue compte que si je voulais vivre dans un autre pays européen comme la Suède par exemple je ne pourrai plus. J’ai vécu en France pendant plusieurs années, en Martinique pendant 9 mois et à Aix-en-Provence pendant 2 ans, donc je parle français. Mais ce qui m’a vraiment décidé c’est de ne plus avoir le choix de vivre dans l’UE. Car financièrement je n’avais pas assez d’argent avant pour payer pour le passeport, donc jusque là cela m’avait retenue. J’ai fait les démarches petit à petit ? J’ai dû aller à Londres passer un test de langue, payer pour cela, et attendre car cela prend deux ans pour avoir confirmation ; et j’ai eu la réponse positive en septembre 2018. Le temps commençait à manquer… Ensuite il m’a fallu faire traduire mon certificat de naissance, payer pour cela, et rassembler d’autres papiers ; tout cela coûte aussi. Mais avec le Brexit qui arrivait fin janvier, je voulais régler cela avant. « 

Pour les Européens souhaitant rester au Royaume-Uni, la situation est souvent pire. S’ils vivent dans le pays depuis plus de 5 ans, ils peuvent demander leur « settled status », pour avoir le droit de rester, mais les conditions sont précaires. 

Joanna Booth est Grecque et Australienne ; elle vit en Angleterre depuis 24 ans ; son mari et ses enfants sont Britanniques mais elle n’a pas l’intention de prendre une 3e nationalité. Surtout que le coup est très élevé : au moins 2000 livres, plus si frais d’avocat... Cependant elle pense que le statut post-Brexit pour les Européens n’offre aucune stabilité et trouve que l’ambiance a déjà changé négativement…

Joanna Booth : « Je n’ai pas de raison de devenir britannique et je ne le ferai pas. Mais j’ai dû demandé le ‘settled status’ et je l’ai eu finalement, après deux mois. J’ai dû envoyer ma carte d’identité, les informations sur mes impôts, etc. Mais le plus ennuyeux ce sont les attitudes des gens qui ont changé, dès le lendemain du Brexit. Par exemple, des gens me regardent de travers quand je parle grec à mes enfants en public. J’ai donc arrêté de le faire pendant un temps mais quand j’ai repris les gens n’arrêtaient pas de me demander ‘d’où êtes-vous ?’ ou ‘d’où vient cette langue ?’ Et c’est vraiment ennuyeux. »

Par sécurité, sa famille envisage-t-elle de prendre sa nationalité grecque ?

Joanna Booth : « Je ne sais pas si l’on sait vraiment quelles vont être toutes les conséquences du Brexit. S’il nous faut le faire, nous le ferons. Car le Brexit m’a vraiment beaucoup stressée et j’étais prête à partir si je n’avais pas le statut. Cependant j’ai rencontré beaucoup d’Européens, des Lithuaniens, des Français, qui ne voyaient pas le danger. J’ai rencontré un Italien qui vivait ici depuis moins de 5 ans et qui ne s’inquiétait pas. Ils ne voulaient pas croire qu’on leur demanderait de partir… Mais moi je m’y suis préparée parce que même avec ce statut plus personne n’a de sécurité quant à un avenir ici. Beaucoup d’Européens qui vivent ici sont une nouvelle génération d’immigrants, ce ne sont pas de travailleurs agricoles comme mes parents, ou des balayeurs comme mon grand-père, ou des travailleurs à l’usine ; ils ont des diplômes, parfois des thèses et enseignent à l’université. Ils pensent avoir une stabilité et sécurité dans ce pays. Mais depuis le Brexit, il n’ya plus de stabilité. Mais ces travailleurs pourraient être exclus. »   

L’un des inconvénients de ce statut est qu’il ne permet plus aux Européens de passer du temps en Europe et de rentrer en GB. Pour Christophe Fricker, traducteur allemand travaillant entre plusieurs pays, il était donc urgent de devenir britannique. 

Christophe Fricker : « Ma décision a été provoquée par le Brexit, oui. Absolument. Avant je n’y pensais même pas parce qu’en tant que citoyens européens, nous avions tous les droits nécessaires. Nous n’avions pas besoin de dépenser ces sommes énormes pour avoir une autre nationalité. Mais le ‘settled status’ est une nouvelle catégorie d’immigration introduite sans raison réelle et c’est un ghetto administratif qui enferme 3 millions d’Européens vivant ici! Ils seront ensuite à la merci des gouvernements suivants pour connaître leurs droits. Je ne voulais pas être coincé ainsi et je n’aime pas la façon dont ce statut a été mis pensé. »  

Plus de 3 millions d’Européens ont déjà demandé ou obtenu ce statut mais l’avenir étant chaque mois plus incertains, des centaines de milliers d’autres pourraient se retrouver obligés de quitter le pays, s’ils ne sont pas éligibles à la précieuse double nationalité. 

Mélissa Chemam en Angleterre pour la DW. 


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17/08/2020

New podcast's episode: With Pr Guy Standing on Universal Basic Income

 

This one means a lot to me... 

This week in The Quarantini Podcast, we talk to Pr Guy Standing from ⁦SOAS University (London, UK)  about Universal Basic Income.  

He has devoted much of his career to the subject and talks about how UBI could help us all in this Covid-19 crisis. Check his platform, BIEN: Basic Income Earth Network!




Episode 18


A Quarantini with Guy Standing and Universal Basic Income



This week we interview another Professor - this time Guy Standing from SOAS (School of Oriental and African Studies) about Universal Basic Income. Guy has devoted much of his career to the subject and talks in this podcast about what it is and why it would work well post Covid. 

We are spending this season highlighting some of the up-and-coming artists, musicians and bands that have suffered during lockdown with no live performances. This week, courtesy again of Funnel Music, it's the turn of Make Friends.

As usual, we also bring you a brief round up of ingenious responses to the virus from Bristol, UK and around the world.


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Music: 

Knowing Makes It Worse, Make Friends

Opening music: Hot Flu, The Old Bones Collective


Hosts: 

Melissa Chemam and Pommy Harmar

Producer: Pommy Harmar

14/08/2020

SUMMER PRINT AND BOOK FESTIVAL


Also out this week: As the Arnolfini's Writer in Residence, I reflected "on creative escapism" through UWE Bristol’s Centre for Fine Print Research Summer Print and Book Festival.


Have a read and explore those links!


UWE Bristol Centre for Fine Print Research Arnolfini

UWE CENTRE FOR FINE PRINT RESEARCH | SUMMER PRINT AND BOOK FESTIVAL

Arnolfini’s Writer in Residence, Melissa Chemam reflects on creative escapism through UWE’s Centre for Fine Print Research Summer Print and Book Festival.


In these times of changes and challenges, I personally find the greatest comfort in nature, beauty, and creativity, and through kind, collective, positive endeavours.

And what is more generous than a programme to encourage artists to keep on creating while sharing their skills and knowledge with others? This is what this year’s Summer School, organised by UWE’s Centre for Fine Print Research offered us. And because of the ongoing lockdown restrictions, it was all online, meaning anybody can take part, from anywhere in the world.

There was so much in these events… Every morning, like most people, I turn to social media to feel connected. But increasingly, all I find is anger, finger pointing and disputes. Instead, in this programme all I found was generosity and talent.

The #printandbookfest festival was a huge team effort, by over thirty artists, speakers, presenters, and authors, organised by Sarah Bodman, Angie Butler, Carinna Parraman and Lizzie Field of UWE’s CFPR, with support from the Arnolfini.

The generous collaborators recorded and broadcast insightful and entertaining talks, activities, workshops and displayed a ‘food for thought’ ethos, encouraging us to better ourselves, share experiences or simply to start learning a new skill.

All the talks are archived on the CFPR website, meaning there is still chance to join in.


CFPR Print and Book Festival #printandbookfest
Monday 20th July – Monday 3rd August 2020
Programme: cfpr.uwe.ac.uk/book-and-print-summer-festival-2020/

 

Among the series were free talks, readings, Q&A sessions and conversations on printmaking, artists’ books, poetry, publishing, academic writing, wellbeing and more. Presenters and contributors include Beneficial Shock (Phil Wrigglesworth and Gabriel Solomons in discussion); The One Poem Artists’ Books Library is OPEN (Jeremy Dixon reads Hazard Press, with a live Q&A); Jason Urban & Leslie Mutchler In Conversation with Angie Butler; LCBA Collage Challenge summer holidays postcard Wish I Was Where; talks by Cecilia Mandrile, Corinne Welch on artists’ books from the archives; Lucy May Schofield and Hilary Judd Typewriter talks…  Plus ‘Shed Talks’ by Gen Harrison, John Bently, Ian Chamberlain, Catherine Cartwright, Abigail Trujillo, Print Van Go, Pat Randle and many more.

Some of the talks discussed settings more typically associated with artists books than this sort of online context display art books’ archives, like Sarah Bodman’s Artists’ Books from the Archives talk. Sarah is Senior Research Fellow for Artists’ Books & Programme Leader for MA Multidisciplinary Printmaking at the CFPR. In her talk, she introduces three collections holding artists’ books in Bristol: Arnolfini’s archive at Bristol Archives, the Bower Ashton Library Special Collections, and the CFPR’s own collection. She shows some examples of artists’ books stored in these archives and explains the ‘Collage Challenge’ – an invitation from UWE in collaboration with the London Centre for Book Arts to participate in ‘Wish I Was Where…’.
See here for more: bookarts.uwe.ac.uk 

One of my favourite talks was about art and wellbeing by Bristol based artist Emma Gregory. Here she talks about her experience of being an artist in relation to wellbeing, especially in our time of global pandemic. Like myself, and most of the creative people I know, Emma works freelance, (as do 77% of artists in the UK). She’s a printmaker, and also teaches, and has been focusing on building “small communities working together through time”.

In the talk, she explains very sincerely how she suffered from depression, a head injury and psychosis, which she said turned her into a very empathetic person. With the lockdown, she lost money, and exhibition opportunities… as “most artists have,” she reminds us. Many have felt isolation, some have lost people…

What she teaches us here is that we are more connected that we believe, and we must look to build resilience. Her husband is a psychologist and directed her to two websites of two organisations: Mind, and the American Medical Association.
They offer 5 ways to build resilience:

  • by reaching out to your connections, your relationships, and people you know,
  • by fostering your own wellness, in body and mind,
  • by finding purpose, learn new things,
  • by embracing healthy thoughts,
  • and, when necessary, by seeking professional help.

To get over the current crisis, Emma for instance participates in family weekly quizzes to find comfort and connection, to artists groups’ weekly meetings switched to Zoom, uses resources from TAPS: The Artists Project Space, practises pilates with her mum via Zoom, and has found purpose in volunteering. “Self-expression,” she concludes, “is exposing, it leaves you vulnerable” but it’s also liberating and a courageous act of creativity.

Listen to Emma Gregory’s talk on Artists and Wellbeing here 

Another talk I loved was by Professor Carinna Parraman about ‘Choosing the Right Colour’ in ‘The Complex World of Colour and Texture’. Ever since I was a child, I have been fascinated by the complexity of colours and how our human eyes perceive them, their links with art and the notion of colour-blindness, which challenges the idea that colours exist by themselves, instead of through the eyes of their beholders…

The talk discusses how artists are attracted to specific colours and colour harmonies in their work, sometimes returning to the same shades over and over again, and how designers create colour palettes for different media and materials, accurately specifying tones and shades.

Have a deeper look at this programme and plunge into this series of events and reflections. Dig into a world of prints, books and creativity!


cfpr.uwe.ac.uk/book-and-print-summer-festival-2020/




13/08/2020

Leading artists condemn Israeli raids on Palestinian cultural centres

 

This situation has become unbearable!

Call to action:


Leading artists condemn Israeli raids on Palestinian cultural centres & call for sanctions

12 August  2020 




In the open letter published on 12 August 2020, more than sixty international musicians, artists, writers and filmmakers say that the ransacking of the Edward Said National Conservatory of Music (ESNCM), the Yabous Cultural Centre and the Shafaq Cultural Network in occupied East Jerusalem, and that the arrest of their respective directors, ‘threaten to extinguish cultural life for thousands of artists, students and people in wider society’. 

The open letter in full:

On 22 July in occupied East Jerusalem Israeli police raided the Edward Said National Conservatory of Music (ESNCM) and the Yabous Cultural Centre, two of the most important cultural centres in Palestine. The buildings were ransacked and their directors arrested. SHAFAQ, the network which links the major Palestinian arts institutions in East Jerusalem, also saw its director arrested, after his home was invaded by police.  

These attacks threaten to extinguish cultural life for thousands of artists, students and people in wider society. They are part of a well-documented campaign of harassment and intimidation, arrests, home demolitions and forced evictions of indigenous Palestinians by the Israeli government.  

This campaign is linked to Israel’s plans to annex large areas of Palestinian territory, which UN human rights experts have described as a ‘vision for a 21st century apartheid’. 

We note that the British Consulate General in Jerusalem has expressed its ‘concern’ about the raids. It must go further than this.  Israel’s policies must be brought to a halt.

We call on the British government to condemn the raids and to take action to stop Israel’s ongoing annexation. Palestinian civil society organisations are calling for ‘targeted and lawful sanctions’, that relate to trade, arms sales and security co-operation. Britain should support them. 

 

Signatories to the letter include:

  • Musicians Massive Attack, Brian Eno, Peter Gabriel, Matthew Herbert, Jonathan Ofir, Jocelyn Pook
  • Filmmakers, actors David Calder, Julie Christie, Steve Coogan, Mike Leigh, Ken Loach, Maxine Peake, Leila Sansour, Harriet Walter
  • Writers Carmen Callil, William Dalrymple, Inua Ellams, A.L. Kennedy, Sabrina Mahfouz, Ruth Padel, Philip Pullman, Jacqueline Rose, Thomas Sleigh, Gillian Slovo, Ahdaf Soueif, Poet Benjamin Zephaniah 
  • 2019 Turner Prize winning artists Lawrence Abu Hamdam and Tai Shani

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The letter reminds us that the raids are linked to Israel’s ongoing annexation of Palestinian land and calls on the British government to take action to halt Israel’s latest round of aggression towards Palestinians. 

The signatories say: ‘Palestinian civil society organisations are calling for ‘targeted and lawful sanctions’, that relate to trade, arms sales and security co-operation. Britain should support them.’ 

Composer Jocelyn Pook, best known for scores for films such as Eyes Wide ShutThe Merchant of Venice and The Wife, said: ‘These raids strike a blow against music and a blow against education. No government which cared about culture would inflict them. No person who cares about culture should tolerate them.’ 

Pioneering musician Brian Eno argued: ‘These raids are part of a new series of assaults on Palestinian lives and livelihoods and seem designed to break the morale of the Palestinian people, to deny them the last thing that they actually own: their culture. It is essential that our government ends its silence, condemns Israeli actions and takes practical steps to stop the raids.’

Ahdaf Soueif, novelist and founder of the Palestinial Festival of Literature said: ‘Israel is using the familiar tactics of an authoritarian state – night-time raids, trumped-up charges, arbitrary arrests – to kill the cultural institutions that Palestinians have created. Western governments have the power to stop this intolerable use of force. They should use it.’

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The British Consulate in Jerusalem expressed its concern over the raids, via Twitter.  

However, the artists say that expressions of concern are not enough. 

The British Council said on social media that the Council is  ‘a long standing partner’ of all three cultural centres, which support ‘music and culture for young people’, and preserve ‘Palestinian cultural identity & community in Jerusalem’. 

Composer Suhail Khoury, the director of the National Conservatory of Music, who was arrested during the raids, issued a statement urging friends of Palestinian cultural institutions in Jerusalem to ‘demand the Israeli authorities lift their foot off our necks so that we can sing in freedom’. 

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Signed:

Full list of 60+ signatories:

Lawrence Abu Hamdam, artist

Nicholas Blincoe, writer

Victoria Brittain, playwright, journalist

David Calder, actor

Carmen Callil, publisher

Taghrid Choucair-Vizoso, producer, performance-maker

Julie Christie, actor

Steve Coogan, actor, comedian

Selma Dabbagh, writer

William Dalrymple, author

Andy De La Tour, actor

Tam Dean Burn, actor

Raymond Deane, composer, author

Robert Del Naja, Massive Attack

Laurence Dreyfus, musician

Thomas Eisner, violinist

Omar El Khairy, writer

Nancy Elan, violinist

Inua Ellams, poet, playwright

Brian Eno, musician

Kodwo Eshun, writer, filmmaker

Gareth Evans, writer, curator

Adam Foulds, writer

Peter Gabriel, musician

Judy Granville, musician

Trevor Griffiths, playwright

Rahila Gupta, playwright

Omar Robert Hamilton, writer

Rachel Holmes, writer

Tom Hammond, conductor

Matthew Herbert, musician

Gemma Jackson, production designer

Vanessa Jackson, artist

Brigid Keenan, writer

Peter Kennard, artist

A. L. Kennedy, writer

Hannah Khalil, playwright

Paul Laverty, screenwriter

Mike Leigh, screenwriter, director

Ken Loach, film director

Sabrina Mahfouz, playwright

Jamal Mahjoub, writer

Kika Markham, actor

Grant Marshall, Massive Attack

Pauline Melville, writer, actor

Roy Mowatt, violinist

Courttia Newland, writer

Jonathan Ofir, conductor, violinist

Nii A Parkes, writer

Ruth Padel, poet

Maxine Peake, actor

Joceyn Pook, composer

Phillip Pullman, author

Siobhan Redmond, actor

David Roger, production designer

Bruce Robbins, writer

Jacqueline Rose, writer

Leila Sansour, filmmaker

Tai Shani, artist

Thomas Sleigh, poet, writer

Gillian Slovo, writer

Ahdaf Soueif, writer

Sarah Streatfeild, violinist

Tom Suarez, violinist

Jacques Testard, publisher

Harriet Walter, actor

Hilary Westlake, performance director

Penny  Woolcock, screenwriter, director

Benjamin Zephaniah, writer, dub poet

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Link: https://artistsforpalestine.org.uk/2020/08/12/leading-artists-condemn-raids-on-palestinian-cultural-centres-call-for-sanctions


10/08/2020

After a challenging spring, Bristol reopened: new piece

 

I wrote this for a new website, West England Bylines. Out soon.
 

Bristol rises – new city, bright future


 

Artwork: Hassan Hajjaj


Summer is finally at its height, and with it Bristol seems again to be embracing a feeling of optimism.

After an unpredictably hard start to the year and the worst crisis in decades, its businesses want to start over, its restaurants, pubs and shops are reopening, and art galleries are back with a thrilling programme of shows. After more than four months of lockdown, our city is trying to restart life again.

It is not easy, but we must admire our citizens’ bravery and enthusiasm. Some examples: friends of mine are preparing new books or exhibitions, opening new places to gather and be creative. On the arts front, though artists are struggling, the RWA exhibition hall reopened on 1 August with a show on St Ives, while Kosar Contemporary in Bedminster and That Art Gallery in Upper Maudlin Street are offering local artists the opportunity to show their work.

But for me, one exhibition in particular is symbolic of both this ‘reopening’ but also what has emerged in Bristol from the experience of the past five months.

This is Hassan Hajjaj’s ‘The Path’ at the Arnolfini – an explosion of colours and liveliness, which is a celebration of joy and optimism for the value it places on people, creativity, and quirkiness.

Hassan was born in Morocco and moved to London with his parents in 1973. At that time none of his family spoke English, and there were no other Moroccans living in their neighbourhood. So, they had to adapt – and adaptation is what this entirely self-taught artist has always lived by, inspired as he is by underground music and street culture.

His photos, films and visual experiments are inspired by numerous influences: his Moroccan culture, the marketing commercials that dominated his youth in London, and his experience in the deeply mixed and multicultural capital. ‘The Path’ represents the two parts of his journey, offering a collection of portraits and scenes representing, on the one hand, women in Muslim dress, their faces covered by bright and playful veils and hijabs, and African artists on the other.

These multiple images are a great fit for our 2020 ‘strangeness’, not yet ‘normal’, matching as they do the new world in which we live: a place where we need to protect each other from coronavirus by covering our fragile faces and observing social distancing, while also celebrating the work of black artists.

And these two experiences have seen Bristol emerge a different city, after months of lockdown.

While deep concerns about the pandemic, about energy use and biodiversity, and about the coming economic crisis are having dramatic impacts on our communities, Bristol’s place in the global response to the murder of George Floyd in the United States has marked the city as much as – if not more than – the Covid-19 crisis.

The tearing down of the statue of Edward Colston on 7 June changed Bristol’s relationship with its past, and is now helping shape its future.

This revolutionary move has inspired a deep and complicated debate about the inequality from which so many in Bristol suffer – a debate that is far from over: institutions, businesses, intellectuals and many others, have and continue to question their relations with black citizens, whether they are of African and Caribbean descent, more recent immigrants, mixed-race people, or those from other ethnic groups, all of whom suffer equally though in different ways, from deplorable levels of discrimination or a lack of life-chances in the UK.

The coronavirus pandemic has exposed many of these inequalities, with these groups suffering disproportionately as they have sought adequate healthcare, or in their work as key frontline workers. 

But there has also been an upside to Bristol’s experience of the five months of crisis, Bristolians having come forward with very creative responses: charities like Caring in Bristol, Feed the Homeless and the Bristol Food Union have organised housing for the most vulnerable, as well as helping feed frontline workers and homeless people; Facebook groups have offered local support to families in need, and artists have organised fundraising in order to upscale the response to the pandemic.

Little was expected of the Government. Its approach intensified anxiety and failed to provide the emergency funds needed. And as Colston’s statue fell, and the deep need and demand that the political leadership show its understanding of what had led to support across the UK for the Black Lives Matter protests, it was soon realised that the citizens of Bristol should take matters into their own hands. Which is what they did, and have continued to do.

Now, we can reflect on some of the lessons we have drawn or absolutely must draw from these multiple crises.

Some really do understand that we cannot return to ‘business as usual’ – that we must clearly define and live by our values and take care of the most vulnerable in our communities, that we must truly value key workers, and must respect their needs when they are immigrants and are going through challenging times, with Brexit having made their nightmare worse.

Among artists, there is now a call for artistic and cultural platforms for those the Black Lives Matter campaigners designate as ‘melanated voices’. Others are demanding urgent responses to the climate crisis, which is being studied for its possible links to the origins and the surge of coronavirus.

Initiatives like these are now appearing across Bristol: the Food Union has just created the ‘Eat Out Help Out’ initiative; the M Shed is preparing an exhibition on the role of Edward Colston in the slave trade; schools, and teachers like Aisha Thomas are rethinking the curriculum; Councillor Cleo Lake is campaigning for reparations and is promoting Greens of Colours.

Throughout Bristol’s long association with the slave trade, a parallel historical thread also exists, which has seen the city rebel against this crime, against exploitation, and for social progress; when for four months of 1963 Bristolians boycotted the city’s buses in protest at the refusal of the bus company to employ black drivers, the protest changed history In the wake of such protests, Bristol also gave birth to some of the most multicultural and politically-aware artists in the country – rappers like Tricky, street artists like Banksy, and bands like Massive Attack.


Poster: Massive Attack

Not coincidentally, as their ecological tour was rendered impossible by the pandemic, members of Massive Attack have used their time in lockdown to come back with a unique art and music project: three videos entitled ‘Eutopia’, inspired by the 16th century English lawyer, writer, and statesman Thomas More’s book Utopia. Three songs were written by the band’s main creator Robert Del Naja, in collaboration with his sound engineer Euan Dickinson; they will be used as a platform for three experts to discuss climate justice policies (Costa Rican diplomat Christiana Figueres, a signatory to the 2015 Paris Agreement), tax justice (French economist Gabriel Zucman) and a universal basic income (SOAS professor Guy Standing).

Their messages are being channelled through three magnificent films created in collaboration with filmmaker Mark Donne in London and A.I. artist in Germany, with vocals from Scotland (Young Fathers) and the United States (Saul Williams, and the band Algiers): a multi-layered achievement, which shows that once again Bristol can lead the way with positive and constructive messages, despite all the difficulties – proof that knowledge and creativity are the only sustainable answers to crises, and that a community can always build forward and better, whatever stands in its way. 

 


Melissa Chemam is a Bristol-based writer, reporter and radio producer, as well as being a lecturer in journalism at UWE/BIMM Bristol and Writer-in-Residence at the Arnolfini Gallery


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link: https://westenglandbylines.co.uk/bristol-rises-new-city-bright-future/ 



07/08/2020

From Byblos to Bristol via Barbès


6 years ago, in late July 2014, this show took place in Lebanon. A few days later, I read about it in Paris and my Bristol journey began... 


Much love to this incredible band and all my thoughts and solidarity to the people of Lebanon x 


'Massive Attack Dedicates Lebanon Gig To Gaza Children' 
                                        - Byblos Festival in Beirut, Lebanon on the 29th July 2014 




Massive Attack at Byblos International Festival 2014





29/07/2020

Arnolfini: Hassan Hajjaj in Conversation


My latest interview is filled with joy, colours and roads.... 
The brilliant and unique visual artist Hassan Hajjaj talks about his show opening tomorrow in Bristol's Arnolfini gallery! 
But also about his native Morocco, North African and African cultures, his career in London, his exhibitions to my native Paris and beyond, and about his art, travels and inspirations in these strange times of re-thinking and re-shaping of our world...


Hassan Hajjaj in conversation with Arnolfini's Writer in Residence, Melissa Chemam






Ahead of Hassan Hajjaj: The Path opening, Arnolfini's Writer in Residence, Melissa Chemam, caught up with Hassan Hajjaj for a chat that spanned common links with their North African heritage, Hassan's work, influences, music and bringing an exhibition to Bristol for the first time. Make yourself a cup of something, sit back and enjoy this delightful, meandering conversation. More details and how to book your exhibition slot on the Arnolfini's website!


22/07/2020

Massive Attack’s new audiovisual project 'Eutopia' addresses our need for radical global change


My latest article for Public Pressure: 





“There are endless ways of being a political artist,” French-Algerian visual artist Kader Attia once said. “I go back and forth between a highly political grammar and syntax and work that is much more poetical. But even with the poetical, there is something there. It’s a matter of degree.” Artists, he thinks, have a responsibility to “supplement a failing education system by holding up for scrutiny moments that would otherwise get lost.” 
In the history of popular music, few bands have mastered this art as deeply and beautifully as Massive Attack, who just surprisingly released ‘Eutopia’, a three tracks EP featuring the Algiers, the Young Fathers and Saul Williams. 
As they explained in their press release: “The lockdown exposed the best aspects and worst flaws of humanity. This period of uncertainty and anxiety forced us to meditate on the obvious need to change the damaging systems we live by.”


Eutopia is an entirely unseen form of protest art. It features commentaries from political experts Christiana Figueres, who wrote the UN Paris Climate Agreement, Universal Basic Income theorist Guy Standing and professor Gabriel Zucman, the mind behind the American Wealth Tax policy.
The spirit of Eutopia “has nothing to do with naïve notions of an ideal perfect world,” they added, “and everything to do with the urgent and practical need to build something better. In this sense, Eutopia is the opposite of a spelling mistake.”

The project was conceived by Robert Del Naja aka 3D and Mark Donne, who worked together in Mark’s film ‘The UK Gold’ on the subject of tax evasion. Touched by the new challenges added by the pandemic to the global environmental crisis, Robert started working with Bristol Food Union and Caring In Bristol charities. He raised more than one hundred thousand pounds with his iconic artwork ‘Protection’, inspired by mid-90s themes. 
The team also included Anthony Tombling Jr from Unit 3 Films production and AI artist Mario Klingemann, who worked with Adam Curtis for the Mezzanine anniversary shows in 2019. 
Eutopia is an independent no-profit project that offers credible social, economic and political solutions. It was created as “a unique format where the message was the medium”, a team member told me. Made available only on social media and free video streaming platforms. 
While ‘Utopia’ is in its original meaning is a place that doesn’t exist, ‘Eutopia’ is a place of well-being, with an urgent need to be designed. If not, now, when?
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