07/08/2017

Souvenirs of Kenya (2010-12)


 For those reading this randomly or only recently arrived, this blog started when I was based in Nairobi, Kenya, in 2011. Beforehand, I had another blog, written in French, where I posted my reports for BBC Afrique and the German International Radio, Deutsche Welle, Le Figaro and some other news outlets, but increasingly, though I was only a newcomer in East Africa and a humble freelance journalist, I was willing to write in a language the people around me in the region could understand...

Here is the link to the blog, if you feel like readind old news ;)
http://bbcafriquekenya.blogspot.fr

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Also, from February 2011, I started travelling way more, after spending five wonderful months discovering mostly Nairobi and nearby towns, as Kisumu, the mesmerizing island of Zanzibar, and the marvelous Rift Valley.

I travelled to Kampala, Uganda, for the 2011 elections and soon to Dadaab, at the border of Somalia, which hosts one of the largest refugee camps in the world. No need to say how life-altering these journeys have been. I was privileged enough to soon travel to Ethiopia, to Somaliland and a year later to Mogadishu, Somalia's capital.

Tomorrow, August 8th, Kenyans are voting for their new president and this could have important consequences for the whole region. Though I suspect current President, Uluru Kenyatta (son of Jomo Kenyatta who let Kenya to independence and become the country's first president) has too much to lose to admit any form of defeat. Long story... I'll post some articles from the Guardian.

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A few reports in French:

BBC Afrique
Reportage de Melissa Chemam au Kenya et en Ouganda à l'occasion de la journée de lutte contre le paludisme.
http://www.bbc.com/afrique/nos_emissions/2011/04/110425_minimag_melissa.shtml

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Des SMS pour se soigner

Mon dernier reportage pour la Deutsche Welle au Kenya


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Autres audios

https://audioboom.com/melissachemam

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But first, because East Africa is one of the most beautiful region in the world, situated in the Horn of Africa and home to the Rift Valley, among other marvels, here are a few souvenirs in pictures.


The view on the city skyline from a famous hotel, used by researchers and journalists as a regular spot and base...




My take on the old sign post at the main train station in Nairobi, the one that is featured in the famous American film, Out of Africa, adapted from Karen Blixen's book.



For the anecdote, Nairobi has a neighborhood named Karen, now a wealthy suburbs in the west of the capital, that was named after Baroness Von Blixen...

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There would be so much more to say about this beautiful country.
But that will come soon.

To be continued....

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Latest news, in The Guardian:


Kenyan police to flood streets as country braces for election violence

Tuesday’s poll pits incumbent Uhuru Kenyatta against veteran challenger Raila Odinga

Monday 7 August 2017 

An estimated 180,000 police officers and members of the security forces are being deployed across Kenya as the country prepares to vote on Tuesday in a fiercely contested presidential election.
Voters will either return the incumbent, Uhuru Kenyatta, who has been in power since 2013, or elect the veteran opposition politician Raila Odinga. Recent opinion polls have not indicated any clear leader in the campaign and turnout will be a key factor. 
The country is braced for widespread unrest whoever wins, after a campaign marred by hundreds of violent incidents – including the murder of a high-profile election official – issues with new voting technology and widespread concerns about fraud.
A contested poll in 2007 led to more than 1,000 deaths, and violence could sweep the country again if the losing party refuses to accept the result.
At a church service near his home in Nairobi on Sunday, Kenyatta, 55, called for calm. “Do not allow anything to drive a wedge between you. You have been good neighbours and I urge you to remain so regardless of your tribe, religion or political affiliation,” the president said.
Thousands of city dwellers have been returning to their home towns to wait out the aftermath of the poll in relative safety. Others have been stocking up on provisions in case of trouble. Streets have emptied and business has slowed.
“Normally I fill up my matatu (minibus taxi) in 15 minutes but today I’ve been waiting three hours. It’s a disaster. People are fleeing,” said Willy Fiyukundi, a conductor at Nairobi’s central bus station. 
Human rights officials, community leaders and politicians have called on voters to “control their emotions and preserve a peaceful environment” when the results are announced.
“If your candidate wins, do not rub other people’s noses in it, and if your candidate loses, suffer stoically and do not let Kenya down … We must hope for the best but be prepared for the worst,” said Kagwiria Mbogori, the chair of the Kenyan National Commission on Human Rights.
Mbogori said the KNCHR was concerned about “cowardly leaflets” threatening candidates and warning voters “of certain ethnic origins to flee or else”. She called on security personnel to avoid using excessive force. In 2007, many casualties were the result of police using live ammunition against protesters.
Local elections for appointments as governors, members of the lower house, senators, county officials and women’s representatives involve 16,000 candidates and are seen as potential flashpoints.
In Mathare, a poor area of Nairobi, several people were wounded and one killed over the weekend as rival supporters clashed with machetes and guns.
Around 19 million voters, half of whom are under 35, have been registered. Prisoners are able to vote for the first time.
Political allegiance in Kenya often reflects ethnic identity. Kenyatta’s Jubilee Alliance is largely supported by the larger Kikuyu and Kalenjin tribes, while Odinga has a following among the country’s smaller communities, such as the Luo.

Many Kenyans downplay ethnic factors, pointing instead to issues such as rising prices of staple foodstuffs, allegations of corruption and high unemployment.
“It is not about tribes. It is about corruption,” said Paul Ouma, manager of a bus company, who indicated he would be voting for Odinga. “Bread costs the same whichever tribe you are from. This government is not delivering development to the ordinary man and woman. They are heartless people.”
Ouma said violence could be avoided if there was a “fair and transparent” ballot.
“Then there will be no war … But if it is rigged there will be chaos,” the 51-year-old said.
At the church in a middle-class neighbourhood of eastern Nairobi where Kenyatta prayed on Sunday, worshippers said tribal differences were minor.
“We sing here in all the languages of our country. Our pastor has been telling us there will be peace so we are not worried,” said Daniel Mwangi, a church official.
Rose Wangchuk, 19, said she was happy Kenyatta had come to the Jesus Winner Ministry. “He is in our prayers. He recognises God and he cares about his people,” she said.
Observers see the election as the last showdown of a dynastic rivalry between the families of Kenyatta, 55, and Odinga, 72, that has lasted more than half a century.
Odinga is making his fourth attempt to gain power. He claims that elections in 2007 and 2013 were stolen from him.

Kenyatta would be constitutionally barred from a third term if victorious this time while Odinga would be prevented by age and previous failures from mounting a further challenge in 2022.
“It is the beginning of the end of an era and so it has to be painful and brutal,” said the commentator Charles Onyango-Obbo. “In part because Kenya has escaped the worst of African coups and wars it has never made the transition from a post-independence leadership. We are approaching a turning point.” 
Nic Cheeseman, a professor of African politics at Birmingham University, said both candidates were so certain of victory that they may have “talked themselves into a corner” in which defeat is not an option.
“The question is not whether or not they will accept the result but what they will do when they don’t accept it,” he told Agence France-Presse.
A new biometric system of voter identification and counting was introduced after the 2007 election but partially failed in 2013.
Odinga claimed there was vote rigging, however he took his complaints to the courts instead of the streets and despite some rioting after he lost his case, the process ended peacefully.
Fears surrounding the system were raised last week when the election commission’s chief IT manager, Chris Msando, was found strangled and torturedin a forest on the outskirts of Nairobi.
Msando, a high-profile figure who had made frequent media appearances, had access to all the system’s passwords and secret codes.
Last week it was revealed that patchy mobile phone coverage meant around a quarter of machines would not be able to relay crucial information in real time.
Observers say preventing unrest after the poll depends on disappointed voters being confident there has been no vote rigging. 

Mbogori encouraged Kenyans to perform their civic duty to choose their leaders. “We look forward to the day when elections in Kenya are not the reason for fear and uncertainty,” she said.
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Trump: "GUILTY OF IDIOCRACY"


A Mr Donald Trump shown as a monster and devil, holding this sign reading "GUILTY OF IDIOCRACY" has appeared on a wal near my flat in Paris, 18e arr.t.

Well, pasting and street art can still voice message... Despite the genre being increasingly used as a tool for polished decoration...

Thanks to the artist. If you are or know who they are, get in touch!!





UK: Pro-EU activists to stage 'stop Brexit' marches


 It is only Monday, it is August, the quietest month in France's calendar, but it will be a busy day.
I'm officially on a break, working only part time and writing the first pages of two new book projects, but politics is never far away.

I won't leave France until the autumn normally and move on with a new job from September on a film.

But if you're in the UK, you might be interested in these two events:

Anti-Brexit March in London, on September 9th - meeting point : Hyde Park

Anti-Brexit March in Manchester on October 1st
Here is the event on Facebook:
https://www.facebook.com/events/193901264475628/?acontext=%7B%22action_history%22%3A%22[%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A[]%7D]%22%2C%22has_source%22%3Atrue%7D

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More events are on the way:



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More here:


Today in The Guardian:

Pro-EU activists to stage 'stop Brexit' march during Tory conference

Campaigners say aim is to make the Tories face the reality of Brexit, with thousands expected to turn out in Manchester


Pro-EU campaigners are planning to stage one of their biggest “stop Brexit” marches outside the Conservative party conference this autumn.
Campaigners said their aim was to make the party “face up to the reality of Brexit” when they march to the conference centre to make sure their voices are heard by delegates inside.
Thousands are expected to turn out for the rally, starting in Platt Fields in Manchester on the first day of the conference – the same day as the traditional anti-Tory and anti-austerity protests held outside the gathering, which begins on 1 October.
The pro-EU rally will involve a number of groups, which are said to be planning an “autumn of discontent” against Brexit. The People’s March for Europe is one of the campaigns orchestrating a protest in central London, marching from Hyde Park Corner to Parliament Square on 9 September.
The organisers are hoping to attract pro-EU Tories to the Manchester event. The lineup of speakers so far includes the the former Labour adviser Alastair Campbell, Prof AC Grayling and the former Lib Dem leader Nick Clegg.
Peter French of Unite for Europe said there were several pro-EU groups planning to march in the north of England for the first time and they were hoping to be joined by activists from Scotland and Northern Ireland.
“This is our chance to actually let the people in the north of England have their voices heard because they have been neglected in every other way and this is a chance to give them their voice as well,” he said.
“And this is a chance to hopefully start to turn this around. Our aim is to actually stop the Brexit process and I think things are beginning to turn in that direction. We have a long fight on our hands but I think it is something that is achievable.”
The march will be supported by the Liberal Democrats, breaking the traditional truce against disrupting other party conferences.
“Brexit is the battle of our lives and it is vital we make the Conservatives see the strength of feeling against their disastrous extreme Brexit, which threatens to crash the economy and damage the life chances of millions,” said Tom Brake, the Lib Dem MP for Carshalton and Wallington. “They are heading for the very most reckless of Brexits in the teeth of public opposition to leaving the single market
“Liberal Democrats didn’t take the decision lightly to protest at another party’s conference but we can’t ignore the harm Theresa May’s Brexit will do to future generations. Liberal Democrats on the march will protest peacefully and in good spirit but ministers should be under no illusions that a lot of people are very, very angry at their disastrous handling of Brexit, which has made a difficult situation a million times worse.”
Smaller pro-EU protests are also planned outside the Labour conference in Brighton (late September) and the Lib Dem conference in Bournemouth.

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The Standard:

Anti-Brexit campaigners planning wave of mass protests in 'autumn of discontent'




An anti-Brexit campaign group is planning a London march as part of a wave of mass protests next month for a wider event dubbed “the Autumn of Discontent”.
Campaign group the People’s March for Europe has organised a pro-EU rally in central London for September, which thousands of people have already pledged to attend.
Activists will march from Hyde Park Corner to Parliament Square on September 9 in protest against last year’s Brexit vote.
Backed by Star Trek actor Sir Patrick Stewart and former Labour spin-doctor Alastair Campbell, the group said the march will coincide with other events in Europe including political party conferences and stalls to be set up in busy town centres.
The group said the “Autumn of Discontent” is “set to bring the issue of Brexit and remaining in the EU to the forefront of political debate.”
Remain supporter Sir Patrick attacked Leave campaigners for misleading the public over Brexit. He said: “The Leave campaign was filled with disinformation and one huge falsehood  – the £350 million that was going to find its way into the NHS.
“That £350 million never existed. The people of the UK were misled. Monthly reports are published on the economic impact of leaving the union – and they are all negative.”’
The group said the “Autumn of Discontent” is “set to bring the issue of Brexit and remaining in the EU to the forefront of political debate.”
Remain supporter Sir Patrick attacked Leave campaigners for misleading the public over Brexit. He said: “The Leave campaign was filled with disinformation and one huge falsehood  – the £350 million that was going to find its way into the NHS.
“That £350 million never existed. The people of the UK were misled. Monthly reports are published on the economic impact of leaving the union – and they are all negative.”’
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BONUS 

An extract from my book, Out Of The Comfort Zone - about the history of the band Massive Attack and their city, Bristol (to be released in 2018 in the UK, French version already out), extract from the third chapter - "Underground Revolutions":



Bristol and the Punk Revolution

England, after the first oil shock in 1973, radically changes. Unemployment and inflation double in a few years. In 1976, the country’s revenue per habitant drops drastically. Under James Callaghan’s cabinet, the end of 1978 is baptised the “Winter of our Discontent” by The Sun’s columnist Larry Lamb, inspired by a quote from William Shakespeare’s Richard III (“Now is the Winter of our Discontent / Made glorious summer by this son of York”)[1]. Many strikes block the main cities. Consequently, public spending has to be limited and cultural infrastructures are the first to suffer until the election of a conservative cabinet, to be led by Margaret Thatcher, after the Tories’ victory at the general election on May the 4th, 1979. The country is progressively ravaged by mass unemployment and by a cultural void. This will soon encourage the birth of countercultures.



[1] On this topic, watch Channel 4’s documentary series: Secret History: Winter of Discontent (Brook Lapping Productions for Channel Four, 1998).

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06/08/2017

In Sam Shepard's words


 Sunday is a day for daydreaming, reading and taking notes. I mean, for me, but if it is not for you, I highly recommend it!

And on Sundays, I receive this newsletter I love about literature, full of witty and deep quotes from different books, and mainly correspondance letters.

Do people still do that? Write to each other? Well, you can guess I love to write letters, or since 2000, emails, of course. In 1999, I used to write letters to my best friend, from my new flat in la Goutte D'Or, Paris 18e, to her parents' house in the suburbs, though we saw each other at least once a week :). I know, I'm the reincarnation of a Jane Austen's character in the 21st century...

But the thing is that when you write down what you think, you give it so much power. It's like a ritual, it is literally like putting your thoughts and feelings in this timeline and setting them free to the universe!

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Here is today's letter, shared by this newsletter I like. It is by Sam Shepard, of course, who sadly passed away this week. Playwright, screenwriter, author, actor and director, Shepard was also a music lover, friends of many brilliant musicians, including Charles Mingus Jr and Patti Smith.

Sam Shepard is mostly known from the public for co-writing the screenplay for Wim Wenders’s amazingly powerful film Paris, Texas.

The letter comes from his correspondance with his 50-year friend, Johnny Dark.



     In 1982, Shepard met the actor Jessica Lange on the set of the film Frances, in which he had a supporting role. Lange earned an Academy Award nomination and won Shepard’s heart — the two entered into an immediate and intense romance that effected, as Shepard wrote to Dark, mutual awakening. On St. Patrick’s Day the following year, shortly after the premiere of his play Fool for Love, Shepard moved into Lange’s cabin in Northern Minnesota near Bob Dylan’s birthplace, which he described to Dark as “a town right out of Kerouac.”

      In a letter penned twelve days later, Shepard writes from the thralls of something far deeper and more powerful than infatuation:

 "I love this woman in a way I can’t describe & a feeling of belonging to each other that reaches across all the pain. It’s as though we’ve answered something in each other that was almost forgotten. I look back on that whole ten years in California & I see myself hunting desperately for something I wasn’t finding. I know the Work point of view is the only true one. That life is inside. That nothing outside can ever finally answer our yearning. I know that’s true but, in some way, finding Jessie has reached something inside me. A part of me feels brand new — re-awakened."


Shepard and Lange’s daughter, Hannah, was born three years later, followed by a son, Walker. The couple remained together for the nearly three decades.

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Just an illustration...



Well, do I need to add anything?

Have a good day...

"A book is made from a tree...."


 Read on Instagram a comment from a woman that is still making me smile! She just said: "You know how guys show up in bars and offer women a drink? Why can't people do that in book stores?"

How I would love that! Actually, one of my first important relationships started when a man smiled at me on the streets of Paris, stopped me and... offered me a book. A novel by John Fante. I was 19. And very impressed. We were very, very different. But what a suited gesture...

And actually, when I really love someone, I always start by offering them a book. I'm sure many of you never even opened these books :)

But hey, we are who we are!

I'm a reader and a book lover and I believe there would be no story, no film, no legend, no theatre, no song even, without good writing and storytelling. There you have me.

And this man:


“A book is made from a tree. It is an assemblage of flat, flexible parts (still called "leaves") imprinted with dark pigmented squiggles. One glance at it and you hear the voice of another person, perhaps someone dead for thousands of years. Across the millennia, the author is speaking, clearly and silently, inside your head, directly to you. 

Writing is perhaps the greatest of human inventions, binding together people, citizens of distant epochs, who never knew one another. Books break the shackles of time ― proof that humans can work magic.”


― Carl Sagan

 American astronomer, cosmologist, astrophysicist, astrobiologist, author, science popularizer, and science communicator in astronomy and other natural sciences (1934 – 1996)

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The only things I ever owned or wanted to own:




05/08/2017

Chris Ofili - interview and more


Probably my favourite living painter...
Loved that Tate exhibition, a few years ago, so much.


Andrew Graham-Dixon interviews Chris Ofili





Published on 22 May 2010

Andrew Graham-Dixon interviews Chris Ofili about his painting and exhibition at the Tate.


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Chris' recent work at the National Gallery:



Chris Ofili: Weaving Magic at The National Gallery

- on The Art Channel





Published on 11 May 2017

Collaborating with a team of weavers from the Dovecot Studios in Edinburgh, Turner Prize winner Chris Ofili has designed a tapestry for the Clothworkers Hall which is being shown at the National Gallery within a room lined with murals. Inspired by the Caribbean Island of Trinidad and its folklore, the artist blends together multiple and eclectic references to the Garden of Eden, Old Master painting, cocktails and the Italian football star Mario Balotelli in a vibrant collaboration between artist and weavers. Josh and Grace visit the show and speak to Dr Gabriele Finaldi, the Director of the National Gallery, who explains how Ofili's contemporary art responds to and complements the permanent collection of European painting.
Twitter: @theartchannel1
Instagram: @the_art_channel1
Facebook: https://www.facebook.com/TheArtChannelUK

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Very recent documentary:



 Chris Ofili, The Caged Bird's Song,

 BBC Documentary 2017







Published on 16 Jul 2017

Alan Yentob follows the celebrated Turner Prize-winning British artist Chris Ofili as he creates a spectacular contemporary tapestry - The Caged Bird's Song. Nearly three years in the making, it is a triumph of craft and dedication, transforming Ofili's free-flowing watercolour paintings into vibrant wool on a giant scale. Made with a team of master weavers in Edinburgh, the piece, over seven metres wide and three metres tall, draws together the sights and sounds of tropical Trinidad, where Ofili lives. Imagine explores Ofili's passion for his adopted island home and its inspiration on his creative practice, and reveals the final tapestry as it is installed in an exhibition at the National Gallery in London.


'When Doves Cry'


My favourite song of his, by far...


How can you just leave me standing?
Alone in a world so cold?  
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied... 



Prince - 'When Doves Cry'

(Official Music Video)









"When Doves Cry"

Lyrics



Dig if you will the picture
Of you and I engaged in a kiss
The sweat of your body covers me
Can you my darling
Can you picture this?

Dream if you can a courtyard
An ocean of violets in bloom
Animals strike curious poses
They feel the heat
The heat between me and you

How can you just leave me standing?
Alone in a world that's so cold? (So cold)
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other
This is what it sounds like
When doves cry

Touch if you will my stomach
Feel how it trembles inside
You've got the butterflies all tied up
Don't make me chase you
Even doves have pride

How can you just leave me standing?
Alone in a world so cold? (World so cold)
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other
This is what it sounds like
When doves cry

How can you just leave me standing?
Alone in a world that's so cold? (A world that's so cold)
Maybe you're just too demanding (Maybe, maybe I'm like my father)
Maybe I'm just like my father, too bold (Ya know he's too bold)
Maybe you're just like my mother (Maybe you're just like my mother)
She's never satisfied (She's never, never satisfied)
Why do we scream at each other (Why do we scream, why)
This is what it sounds like

When doves cry
When doves cry (Doves cry, doves cry)
When doves cry (Doves cry, doves cry)

Don't Cry (Don't Cry)

When doves cry
When doves cry
When doves cry

When Doves cry (Doves cry, doves cry, doves cry
Don't cry
Darling don't cry
Don't cry
Don't cry
Don't don't cry


"We are the music makers, / And we are the dreamers of dreams"...



 Ode from his book Music and Moonlight (1874)

Arthur O'Shaughnessy


We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers
And sitting by desolate streams;—
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

With wonderful deathless ditties,
we build up the world's great cities.
And out of a fabulous story,
we fashion an empire's glory.
One man, with a dream, at pleasure
shall go forth and conquer a crown.
And three, with a new song's measure
can trample an empire down.

We, in the ages lying,
in the buried past of the Earth,
built Nineveh with our sighing
and Babel itself with our mirth.
And o'erthrew them with prophesying
to the old of the New World's worth.
For each age is a dream that is dying,
or one that is coming to birth.























04/08/2017

Jabu - New single: 'Let Me Know' - and new album in September



Jabu, Bristol trio of great contemporary and forward-thinking talent, has added a second vocalist into their collective and is ready to release their first LP, Sleep Heavy.



I was lucky to meet with one member at the WOMAD Festival in 2015, and to have heard them with Young Echo, quite a few nights in Bristol the same year.

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Here is a presentation by the site Resident Advisor:


Jabu will release their debut album, Sleep Heavy, via Blackest Ever Black in September. 
The LP pairs an R&B sensibility with atmospheric electronics. It's a "meditation on grief, on loss, making sense of separation and death," the label says. Jabu cite Massive Attack, The Temptations and Cocteau Twins as influences. 
The group, which consists of vocalists Alex Rendall and newly-recruited Jasmine Butt alongside producer Amos Childs, grew from the Bristol collective Young Echo. Last year they released a mini-album under the name O$VMV$M, which is their project with fellow Bristolian Neek. They've also had a couple of 7-inches for No Corner, and an EP for Ramp before that. 
Listen to "Let Me Know." 


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Jabu - 'Let Me Know'






Published on 2 Aug 2017
'Let Me Know' by Jabu. Taken from the album Sleep Heavy, due to be released by Blackest Ever Black on September 22, 2017.

Vocals and lyrics by Alex Rendall and Jasmine Butt.
Produced by Amos Childs.

Video directed and edited by Joshua Hughes-Games and Alexander Hughes-Games for MFMFilms.

Choreographed and performed by Charlotte Baker.

© & ℗ 2017 Blackest Ever Black

More information:
http://blackesteverblack.com/releases...

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In their own words:


pre-order up now
out 22/09/17
can't say thank you enough to everyone that helped make this record, from long talks with a very patient Harry Wright listening to more and more abstract and vague artwork suggestions to Andrew Clarkson (& han) allowing me to stay in their house til the small hours going through his records and always being 2 steps ahead of me and pulling out exactly what i needed to hear at any given moment. to chester for allowing us to use the words from his poem for the title of the record. to seb for always being there to listen. & to Alex Hughes-Games, josh & charlotte for taking so much time and effort to make this video 
& to kiran for actually putting the thing out (-barring any last minute changes of heart!)
& to everyone thats played it on radio so far or showed it to their friends etc etc
it means a lot thank you

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JABU - SLEEP HEAVY
(BLACKESTLP016 | CD016 | DL016)
Album out September 22, 2017.
More information:
http://bit.ly/2vt7WC2
Stream 'Let Me Know' (SC):
http://bit.ly/2wlW9St
'Let Me Know' video:
https://youtu.be/9czzvHkLby4
Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.
The group was born out of Bristol’s Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, chester giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).
Jabu’s previous 7” singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It’s a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, on loss, making sense of separation and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again.
Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic – funereal, at times – subtly psychedelic and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism – Mariah to Mariah Carey, if you will – and a rich seam of underground UK soul, boogie, DIY/post-punk, library music and lovers rock; refining and reconstituting these inputs into powerfully immersive, emotionally ambiguous soundscapes as eloquent and engaging as they are understated and bottomlessly mysterious.
There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack, but Jabu’s orchestration of womb-like ambiences, cold synth tones and brittle beats feel entirely sui generis. They provide the perfect setting for Rendell’s wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-centre vulnerability, with something of The Associates’ Billy Mackenzie in there too; defeated but defiant. Meanwhile Jas’s heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. Oceanic is the word: this is music to drown, and drown gratefully, in.
By its end, Sleep Heavy’s world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor. A chance, not a promise. Something to swim towards.
Out September 22, 2017 on LP, CD and digital formats.

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02/08/2017

John Akomfrah will present "Purple" at the Barbican Centre in London from October



John Akomfrah: Purple

6 October 2017 - 7 January 2018
Curve Gallery





British artist and filmmaker, and winner of the 2017 Artes Mundi prize, John Akomfrah has been commissioned to create a new work for the Curve. His most ambitious project to date, Purple is an immersive, six-channel video installation addressing climate change and its effects on human communities, biodiversity and the wilderness.

At a time, when according to the UN, greenhouse gas emissions from human activities are at their highest levels in history, with people experiencing the significant impacts of climate change, including shifting weather patterns, rising sea level, and more extreme weather events, Akomfrah’s Purple brings a multitude of ideas into conversation including animal extinctions, the memory of ice, the plastic ocean and global warming. Akomfrah has combined hundreds of hours of archival footage with newly shot film and a hypnotic sound score to produce the video installation.

The exhibition has been commissioned by the Barbican, London and co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston and Museu Coleção Berardo, Lisbon.
This event is part of:
Barbican Art Gallery in London presents major exhibitions by leading international figures in the heart of the City of London
John Akomfrah
The Airport, 2016
Three channel HD colour video installation, 7.1 sound (installation view)
53 minutes
© Smoking Dogs Films; Courtesy Lisson Gallery

John Akomfrah
Tropikos, 2016
Single channel HD colour video, 5.1 sound (installation view)
36 minutes 41 seconds
© Smoking Dogs Films; Courtesy Lisson Gallery
John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics and often explore the experience of the African diaspora in Europe and the USA. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside the artists David Lawson and Lina Gopaul, who he still collaborates with today. Their first film, Handsworth Songs (1986) explored the events surrounding the 1985 riots in Birmingham and London through a charged combination of archive footage, still photos and newsreel. The film won several international prizes and established a multi-layered visual style that has become a recognisable motif of Akomfrah’s practice. Recent works include the three-screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall’s life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism. In 2015, Akomfrah premiered his three-screen film installation Vertigo Sea (2015), that explores what Ralph Waldo Emerson calls ‘the sublime seas’. Fusing archival material, readings from classical sources and newly shot footage, Akomfrah’s piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. Shot on the island of Skye, the Faroe Islands and the Northern regions of Norway, Vertigo Sea has as its narrative spine two remarkable books: Herman Melville’s Moby-Dick (1851) and Heathcote Williams’ epic poem Whale Nation (1988), a harrowing and inspiring work which charts the history, intelligence and majesty of the largest mammal on earth. 
Akomfrah (born 1957, Accra, Ghana) lives and works in London. He has had numerous solo exhibitions including The Ian Potter Museum of Art, Melbourne, Australia (2017); Whitworth Art Gallery, Manchester, UK (2017); University of New South Wales, Paddington, Australia (2016); Turner Contemporary, Margate, UK (2016); The Exchange, Penzance, UK (2016); Nikolaj Kunsthal, Copenhagen, Denmark (2016); STUK Kunstcentrum, Leuven, Belgium (2016); Arnolfini, Bristol, UK (2016); Bildmuseet Umeå, Sweden (2015); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011). His participation in international group shows has included: 'Restless Earth', La Triennale di Milano, Milan, Italy (2017); 'Unfinished Conversations', Museum of Modern Art, New York City, NY, USA (2017); 'The Place is Here', Nottingham Contemporary, Nottingham, UK (2017); ‘The 1980s: Today’s Beginnings?', Van Abbemuseum, Eindhoven, The Netherlands (2016); 'British Art Show 8’ (2015-17); ‘All the World’s Futures’, 56th Venice Biennale, Italy (2015); ‘History is Now: 7 Artists Take On Britain’, Hayward Gallery, London, UK (2015); ‘Africa Now: Politcal Patterns’, SeMA, Seoul, South Korea (2014); Sharjah Biennial 11, Sharjah, United Arab Emirates (2013); Liverpool Biennial, UK (2012) and Taipei Biennial, Taiwan (2012). He has also been featured in many international film festivals, including Sundance Film Festival, Utah, USA (2013 and 2011) and Toronto International Film Festival, Canada (2012). 
Current and recent projects: