01/11/2017

New documentary: "The Rise Of Graffiti Writing - From New York to Europe"


 This 5-minute trailer takes us back to the birth of the graffiti / street culture in the late 1970s / early 1980s, in the words of the writers themselves.

It is a presentation for a documentary series of ten episodes.

Starting with Fab 5 Freddy, in NYC, and Charlie Ahern, who directed the film Wild Style in 1983, it brings a very rare insights from Bristol with the (too short words) of 3D of Massive Attack, one of the first groundbreaking muralists from England.

This film only contains a 20-second clip with him, but there is more to come...

Also interviewed and featured in the trailer are: Skeme, Lee Quinones, Futura 2000, Delta, Mode 2, Bando, Shoe and Pride.

The whole series will be broadcasted on ARTE from November the 13th. Visible in France and Germany then.



The Rise Of Graffiti Writing - From New York to Europe






Published on 27 Oct 2017

Aufgelackt und angesteckt – Graffiti-Virus infiziert Europa.

Die neue Dokuserie - Ab 13.11. auf ARTE.TV/CREATIVE

In 10 Episoden zeichnet die Dokuserie "The Rise of Graffiti Writing" den Aufstieg der Rapschrift nach: vom New York der 70er über Amsterdam und Paris bis nach München, von wo aus der Graffitivirus ab den 80ern ganz Europa infizierte. Mit dabei: Pioniere wie FUTURA2000, LEE, BANDO und MODE2.

www.arte.tv/de/creative

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Translation in English:

The new documentary series - available from 13.11. on ARTE.TV/CREATIVE

In ten episodes, the documentary series "The Rise of Graffiti Writing" traces the rise of the rapeseed: from the New York of the 70s to Amsterdam and Paris to Munich, where the graffiti virus infected Europe from the 80s onwards. On board: pioneers like FUTURA2000, LEE, BANDO and MODE2.



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Of course, it is a German production, and after emphasising the role of New York, the film claims, and the trailer states it clearly, that Germany has been the most vibrant scene for graffiti so far. It is a point of view...

I personally think the Britain's contribution is always underrated and that will have to be corrected soon!

For now enjoy the journey.


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The graffiti movement known today has existed for more than 5 decades, and it’s still going strong. Throughout history, graffiti was used by political activists to make statements, by street gangs to mark territory or by funny guys writing jokes in bathrooms. It wasn’t till the late 1960s that graffiti’s current identity and started to form. In Philadelphia during the mid to late ’60s people began to write their nicknames all over the city, gaining attention from the community and local press. A few years later the concept made its way to New York City. In the Washington Heights section of Manhattan graffiti writing caught on and in 1971 The New York Times published an article about TAKI 183, a kid from Washington Heights. TAKI wrote his name all over the city, it was a nickname for his given name Demetrius and 183 was the number of the street where he lived. More about TAKI and his generation of writers you can find out watching the new movie WALL WRITERS!

hrough the 70’s graffiti writing caught on like wildfire in New York, kids all over the city started to write their names everywhere with markers and spray paint. The subway trains quickly became a rolling platform for the movement and carried their names all over the city. Techniques and methods on how to paint your name were developed and led to bigger and bolder paintings until they filled up entire subway cars. When the 80’s arrived, is where our story starts.
All the standards had been set and the most active generation was about to reap the benefits of the artistic foundations established by prior generations and a city in the middle of a financial crisis. New York City was broke and therefore the transit system was poorly maintained. By the early 80’s the city and especially the subway trains were covered in graffiti. At the same time graffiti artists from New York started to transfer work from the subways to canvas. The New York downtown scene played a very important role in the spread of graffiti to Europe in the early 80´s. The downtown scene was a culture clash of art galleries, the punkscene, the disco movement, filmmakers, street art and graffiti. Everyone met at that time in the downtown scene. FUTURA2000 met the punkband THE CLASH and started to work with them on backdrop paintings. The subway graffiti king LEE met the filmmaker CHARLIE AHEARN through FAB5FREDDY who had the very first vision to create a historical document.
In 1981, YAKI KORNBLIT, a Dutch gallerist from Amsterdam, came to New York to look for the most talented graffiti artists. He wanted to present graffiti art in Europe. He thought that it would be like when the Pop Art movement was successful promoted in Europe twenty years earlier. Yaki found a network of artists and started bringing them back to Amsterdam where he did shows with them at his Kornblit Gallery. Among them were artists such as DONDI, CRASH, RAMMELZEE, ZEPHYR, QUIK, FUTURA2000, LADY PINK, SEEN and BLADE. The exhibitions of their artworks in Yaki’s gallery and later in the Museum Boymans van Beuningen were an unbelievable success. The critics and collectors of art talked positively about graffiti art and the artworks sold.
This cultural export from New York had a deep impact with the youth of Amsterdam, they were, and perhaps still are, very insubordinate and around that time Amsterdam already had writing on the streets from the punk movement. With the import of graffiti and the artists from New York, the talented kids from Amsterdam found a new influence. 
This and the screenings of the movie WILD STYLE on German and British TV in 1982 and 1983 were the beginning of the modern graffiti movement in Europe. 
Graffiti quickly made its way to other western European cities such as Paris and London and further on to Germany and everywhere else.
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THE RISE OF GRAFFITI WRITING – FROM NEW YORK TO EUROPE tells the story of the New York origins and the rise of modern graffiti in Europe from 1981 and beyond. 
LEE, FUTURA2000, CHARLIE AHEARN, FAB5FREDDY, SKEME, the TATS CRU, YAKI KORNBLIT and a very limited group of European graffiti pioneers like SHOE (Amsterdam), BANDO (Paris), MODE2 (London), 3D (Bristol), DELTA (Amsterdam), STONE (Munich), LOOMIT (Munich), HESH (Hamburg), CANTWO (Mainz), MICKEY (Amsterdam) and a few more protagonists will be featured in the movie.
The first season of the web-series (1973-1988) will be online in 10 Episodes to watch on ARTE.TV/CREATIVE, ILOVEGRAFFITI.DE and the world wide web from november 13th, 2017, on.




I AM NOT YOUR NEGRO nominated at the BIFA!


I AM NOT YOUR NEGRO has nominated this morning in the British Independent Film Awards (BIFA) in the category "Best International Independent Film".


https://www.bifa.film/awards/nominations/2017/best-internation-independent-film



Nominations for Best International Independent Film 







I Am Not Your Negro  (2017)

Narrated by Samuel L. Jackson and with unprecedented access to James Baldwin’s original work, award-winning filmmaker Raoul Peck (Murder in Pacot, Moloch Tropical, Sometimes in April, Lumumba), has completed the cinematic version of the book Baldwin never wrote - a radical narration about race in America that tracks the lives and assassinations of Baldwin’s friends, Martin Luther King Jr., Malcolm X and Medgar Evers. Whilst it is partly anchored in the struggle for equality in the 50s and 60s, I AM NOT YOUR NEGRO is about what it means to be black in America today.

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The ceremony will take place on December10th.

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As a reminder, in the UK still, the film received two nominations for Grierson
(The British Documentary Awards):

- Best Historical Documentary

- and Bertha DocHouse Best Cinema Documentary.

The ceremony will take place on November 6th.


Algiers - the band - is coming back to Europe. You cannot miss them!


 Algiers, the most powerful and relevant band in America at the moment.

In the past three years, I've chosen to write mainly about art and music to comment on social change. Why? Because it can talk to anyone, in any country, from any age and any social class.

I'm a writer, I've written a thesis about two writers, 15 years ago, Frantz Kafka and Milan Kundera, clever and visionary commentators of the twentieth century, I've helped Raoul Peck on his research on a journalist and philosopher, the unique Karl Marx, I've written short stories and a novel, unpublished yet, I'm working on a couple of writers' biography project. I'm reading a book a week at the moment... But...

But, around me, who brought social change the most powerfully are filmmakers and musicians.

This is why I work with a filmmaker and support committed musicians, who understand their world and want to reflect it.
Especially in the times of uncovering of lies and corrupted power.

We must keep on talking, singing, telling the true stories, our history, and uncovering the wrong-doing.


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Music for today:


Algiers - "Death March (Prurient Remix)" (Official Audio)






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begin their November tour of Europe. See them at the dates below:



31/10/2017

'In Your Eyes'


 New music always comes to you, when it's time.

"In your eyes, I can see that we're connected
In your eyes, there's a world I wanna see"
(...)
"Do you feel like me?"


SCHWARZ - 'In Your Eyes'




Published on 12 Oct 2017

Single "In Your Eyes“ OUT NOW: https://SCHWARZ.lnk.to/InYourEyesSingle
Pre-Order „In Your Eyes“ EP: https://SCHWARZ.lnk.to/InYourEyesEP

SUBSCRIBE for more videos from SCHWARZ: http://bit.ly/schwarzvevo

Video adapted from the film „Under the sun“, directed by Vitali Manski:
http://deckert-distribution.com/film-...

CONNECT with SCHWARZ:
https://www.facebook.com/listentoschwarz
https://www.instagram.com/listentosch…
https://soundcloud.com/listentoschwarz/
https://open.spotify.com/artist/6EgeO…

In Your Eyes by SCHWARZ (C) 2017 Styleheads Music via Rough Trade Distribution. The eponymous EP is released in January 2018. It includes, amongst others, a remix by Los Angeles based German wunderkind Robot Koch.


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Biography

Schwarz is a new chapter in Roland Meyer de Voltaire’s life, following the end of his band VOLTAIRE. Schwarz (the German word for black) in terms of the black frame in films, in terms of the cinema space turning dark for just a moment, knowing that soon light will project a movie onto the screen making images move. With a voice that can cut like a blade and soothe like a feather, the German artist will touch many hearts.

When he was seven years old, Roland Meyer de Voltaire and his parents moved from their cosy, quiet hometown in Germany straight to a main road in a 13-floor building in the middle of Moscow. Cars were driving by with 100 km/h right in front of their window all day. Everything appeared a lot louder, darker and estranged. With all his heart he wanted to go home. Almost eight years later, still in Moscow, the picture had changed: He had friends, his first band, parties, early teenage sufferings and glories - and when the time came to move back to Germany, he didn’t want to go. Moscow had become the place where he had all his friends and he was about to lose them all at once.

“What I learned from this, home is not necessarily where you come from, home is about belonging. It’s where you have the people who make you feel at home. In times where a lot of people talk about “their” country which only they should have the privilege to call home because of their ethnicity, religion or given birthright. I just want to say this, home is a situation amongst people and that can include anyone, anywhere.” explains Roland Myer de Voltaire about the meaning behind his new track ‘Home’.

‘Home’ is accompanied by a gorgeous video, where sound and visual are perfectly intertwined. The video for ‘Home’ is based on the critically acclaimed documentary film ‘Meanwhile in Mamelodi’, directed by Benjamin Kahlmeyer, who had followed a South African family in their daily routine during the 2010 World Cup in the township of Mamelodi. Three generations under one tiny roof sharing small and big issues, having just left behind the struggles of apartheid and hopefully glancing towards a brighter future. The music of SCHWARZ has a cinematographic quality which adds another level of meaning to the footage. Benjamin Kahlmeyer explains: “When Roland played the song “Home” to me for the first time I immediately saw the connection between the song and the imagery of Mamelodi. The music of SCHWARZ has a cinematographic quality which adds another level of meaning to the footage.”

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Schwarz - Home (Official Music Video)




Published on 13 Jan 2017

Schwarz - Home is OUT NOW on Spinnin' Records! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://Schwarz.lnk.to/Home!YT

Join our Spinnin' Records Top 100 Playlist ► https://spinninrecords.lnk.to/top100!YT

Schwarz delivers his striking song Home. A tender tune that is bound to break boundaries and touch people’s senses. The vivacious violins and touching chords are enriching the load of this tune as the vulnerable vocals are delivering a message on its refined beat. Home is where the heart is!

Follow Schwarz:
https://www.facebook.com/listentoschwarz
https://www.instagram.com/listentosch...
https://soundcloud.com/listentoschwarz/
https://open.spotify.com/artist/6EgeO...



30/10/2017

« Matière noire » de Borondo au Marché aux Puces à Marseille


 Mon article sur l'exposition marseillaise de Borondo - pour Toute La Culture :

http://toutelaculture.com/arts/expositions/la-matiere-noire-de-borondo-prend-dassaut-le-marche-aux-puces-a-marseille/


La « Matière noire » de Borondo prend d’assaut le Marché aux Puces à Marseille





La Galerie Saint-Laurent, située en plein milieu du Marché aux Puces de Marseille, accueille depuis le 7 octobre et jusqu’au 31 janvier, un exposition / résidence passionnante. L’occasion pour Borondo d’interagir avec un lieu hors norme de cette ville en pleine évolution, et de collaborer avec le génial Edoardo Tresoldi, également exposé en ce moment à Paris au Bon Marché… Mélissa Chemam s’est rendue sur place et a ensuite interviewé les deux artistes à l’origine de ce projet.

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Mélissa Chemam 

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Cet événement est d’un genre rare dans la métropole méridionale française ! « M A T I E R E  N O I R E » a permis à un groupe d’artistes européens de mettre en place une forme d’expression artistique incarnée, en interaction avec un lieu traditionnel et populaire, le Marché aux Puces de Marseille, situé au cœur d’un quartier délaissé de la ville, derrière un centre d’accueil pour migrants...

Mené par l’artiste Borondo (de son nom complet Gonzalo Borondo, né en 1989 à Valladolid), ce groupe d’artistes espagnols et italiens, tous amis et collaborateurs réguliers, s’est vu donner carte blanche par la galerie Saint-Laurent pour occuper son immense bâtiment situé en plein cœur de ce marché pendant trois mois. Leur but : interagir avec le lieu, ses boutiques et ses brocanteurs. Borondo a confié la direction du projet à l’Espagnole Carmen Main et travaillé étroitement avec son ami italien Edoardo Tresoldi. Tous se sont illustrés ces dernières années par un travail artistique libre, loin de la scène commerciale, et ambitieux. Un exemple : « Animal », la précédente exposition de  Borondo à Londres, en 2016 (voir ici : https://www.youtube.com/watch?v=qAsDCTwTBUs )

Le principal sujet de M A T I E R E  N O I R E selon l’artiste : « tout ce qu’on ne peut ni voir ni détecter directement, mais qui permet néanmoins à l'univers d'exister : une métaphore de l'invisible à notre perception ». 

L'exposition est gratuite et s’étend sur une superficie de 4 000 mètres carrés où Borondo présente son univers à travers plus de trente œuvres d’art - animations, hologrammes, installations, peintures, vidéos. Elles sont entourées par celles de huit aux artistes multidisciplinaires internationaux « appartenant à la dernière génération ayant grandi avant le boom digital », comme ils se définissent eux-mêmes : BRBR Films, Carmen Main, Diego López Bueno, Edoardo Tresoldi, Isaac Cordal, Robberto Atzori, Sbagliato, Momo, et A.L. Crego.

La liberté qui les a guidés a donné une réflexion sur notre interaction quotidienne avec les objets et avec notre réalité, d’où une interrogation autour de la « matière noire », visible ou invisible, tangible ou intangible, autour de nous. Les artistes utilisent des techniques mixtes, alliant des objets trouvés sur le marché à des photographies, vidéos, sculptures, etc. Véritable création d’art public, le spectacle en images, objets, sons et lumières, est divisé en trois parties (Projeter / Percevoir / Interpréter) sur deux étages.

« En février, Gonzalo m’a demandé de collaborer au projet, et nous sommes allés visiter le Marché aux Puces », raconte Carmen. « Là, nous avons découvert tous les trésors qui y reposent ! Je crois qu’il n’y a pas d’autre moyen d’intervertir un espace comme celui-ci, à part en travaillant avec les locaux pour préserver leur identité. Les objets et les souvenirs qui les accompagnent sont un matériau incroyable, et les personnes qui le font vivre sont essentielles ».

Le but de Carmen est devenu d’organiser une exposition qui dialoguerait avec le lieu et les locaux, en les impliquant dans l’expérience. « La majeure partie de notre Univers est faite de matière noire, que nous ne pouvons pas voir. Nous avons utilisé cela comme une métaphore pour comprendre que notre perception, et donc notre réalité, sont limitées. Il y a beaucoup de réalités que nous ne connaissons pas, mais sans eux, notre vie ne serait pas ce qu’elle est » ajoute la jeune femme. « Pour explorer cela, il était crucial d »inviter différents artistes, pour apporter des perspectives uniques ». 

Gonzalo est quant à lui tombé amoureux du lieu au premier coup d’œil. « L’atmosphère, les objets, les masques, les bijoux… Tout permettait de créer un dialogue, dans une sorte de limbes de souvenirs. Cela m’a inspiré une réflexion sur notre ‘anima’, notre âme, sur la condition humaine et sur le rôle des objets dans notre société. Et j’ai invité des artistes à venir mêler leur langage au mien ». Momo, brocanteur franco-algérien installé dans le marché depuis des décennies, a aussi été invité à participer au projet. « On a vu en lui, qui est présent tous les jours depuis tant d’année, l’âme de ce marché »… Ayant débuté dans l’art de rue en tant que « muraliste », Borondo est inspiré par des espaces publics pour créer un art en constante évolution, non commercial et interactif. 

Le résultat : une réflexion sur les différentes réalités humaines au niveau culturel, social et générationnel et sur les moyens qui permettent de les assimiler, des premières formes de représentation jusqu’aux plateformes digitales contemporaines. Pari réussi, donc, à l’univers déconcertant qui remet en question le regard du spectateur, dans une ambiance sonore et visuelle recherchée.

« Pour moi, construire des expériences qui soulèvent des questions est la partie la plus intéressante », insiste Carmen. Pour permettre au spectateur de voyager où il peut se sentir. Pour y arriver, il faut faire une immersion dans l’endroit, avec un concept né sur place. Le processus et comment y arriver est mon principal moteur. Le partager avec d’autres artistes est parfois plus difficile, mais c’est définitivement plus riche ».

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L'ouverture du 7 octobre a attiré des centaines de personnes. La plupart des pièces étaient en vente ; certains sont même encore disponibles.

La galerie organise aussi une "N O C T U R N E", le jeudi 2 Novembre jusqu'à 22h30, en présence de l'artiste Gonzalo Borondo pour une dédicace du livre d'Art et catalogue de l'exposition :

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En image :










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Lien vers le site:

http://toutelaculture.com



"Black Tudors: The Untold Story"


Great news!
Interesting new book: BlackTudors: The Untold Story.
Have a look at the website too: http://www.blacktudors.com


Black Tudors: The Untold Story


​Think you know the Tudors?  

Think again… 


We know what they wore. We know what they ate. We know the details of their monarchs’ sex lives, and how they caused seismic changes in our country’s religious and political history. But what about Black Tudors? Until now, the story of the Africans who lived and died in sixteenth-century England has remained untold...

BLACK TUDORS tells the stories of ten Africans. Miranda Kaufmann traces their tumultuous paths in the Tudor and Stuart eras, uncovering a rich array of detail about their daily lives and how they were treated. She reveals how John Blanke came to be the royal trumpeter to Henry VII and Henry VIII: the trouble Jacques Francis got himself into while working as a salvage diver on the wreck of the Mary Rose; what prompted Diego to sail the world with Drake, and she pieces together the stories of a porter, a prince, a sailor, a prostitute and a silk weaver.

They came to England from Africa, from Europe and from the Spanish Caribbean. They came with privateers, pirates, merchants, aristocrats, even kings and queens, and were accepted into Tudor society. They were baptised, married and buried by the Church of England and paid wages like other Tudors.
Yet their experience was extraordinary because, unlike the majority of Africans across the rest of the Atlantic world, in England they were free. They lived in a world where skin colour was less important than religion, class or talent: before the English became heavily involved in the slave trade, and before they founded their first surviving colony in the Americas. Their stories challenge the traditional narrative that racial slavery was inevitable and that it was imported to colonial Virginia from Tudor England. They force us to re-examine the 17th century to find out what had caused perceptions to change so radically.

Introducing Black Tudors means a reassessment of our national story and what it means to be British today. They are just one piece in the diverse jigsaw of migrations that make up our island’s multicultural heritage. The knowledge that Africans lived free in one of the most formative periods of our national history can move us beyond the invidious legacies of the slavery and racism that blighted later periods in our history. BLACK TUDORS challenges the accepted narrative that racial slavery was all but inevitable and forces us to re-evaluate our shared history.




In the Guardian:

Tudor, English and black – and not a slave in sight

From musicians to princes, a new book by historian Miranda Kaufmann opens a window on the hitherto unknown part played by black people in 16th-century England




Within moments of meeting historian Miranda Kaufmann, I learn not to make flippant assumptions about race and history. Here we are in Moorgate, I say. Is it called that because it was a great hub of black Tudor life? “You have to be careful with anything like that,” she winces, “because, for all you know, this was a moor. It’s the same with family names and emblems: if your name was Mr Moore, you’d have the choice between a moorhen or a blackamoor. It wouldn’t necessarily say something about your race.”

Her answer – meticulous, free of bombast, dovetailing memorable details with wider issues – is typical of her first book Black Tudors: The Untold Story, which debunks the idea that slavery was the beginning of Africans’ presence in England, and exploitation and discrimination their only experience. The book takes the form of 10 vivid and wide-ranging true-life stories, sprinkled with dramatic vignettes and nice, chewy details that bring each character to life.

Africans were already known to have likely been living in Roman Britain as soldiers, slaves or even free men and women. But Kaufmann shows that, by Tudor times, they were present at the royal courts of Henry VII, Henry VIII, Elizabeth I and James I, and in the households of Sir Walter Raleigh and William Cecil. The book also shows that black Tudors lived and worked at many levels of society, often far from the sophistication and patronage of court life, from a west African man called Dederi Jaquoah, who spent two years living with an English merchant, to Diego, a sailor who was enslaved by the Spanish in Panama, came to Plymouth and died in Moluccas, having circumnavigated half the globe with Sir Francis Drake.

Kaufmann’s interest in black British history came about almost by accident: she intended to study Tudor sailors’ perceptions of Asia and America for her thesis at Oxford University, but found documents demonstrating the presence of Africans within Britain. “I’d never heard anything about it, despite having studied Tudor history at every level. When I went to the National Archive for the first time, I asked an archivist where to start looking and they were like: ‘Oh well, you won’t find anything about that here.’” Kaufmann kept digging, contacted local record offices and ultimately built up to her book. So why has the existence of black Tudors been unknown, untold and untaught? “History isn’t a solid set of facts,” she replies. “It’s very much about what questions you ask of the past. If you ask different questions, you get different answers. People weren’t asking questions about diversity. Now they are.”
Despite Kaufmann’s research, it is hard to swallow the idea that black people were not treated as extreme anomalies (or worse) in Tudor England. “We need to return to England as it was at the time,” says Kaufmann – “an island nation on the edge of Europe with not much power, a struggling Protestant nation in perpetual danger of being invaded by Spain and being wiped out. It’s about going back to before the English are slave traders, before they’ve got major colonies. The English colonial project only really gets going in the middle of the 17th century.” That said, she does leave a stark question hanging in the air: “How did we go from this period of relative acceptance to becoming the biggest slave traders out there?”
Black Tudors does not make overblown claims about ethnic diversity in England – in her wider research, Kaufmann found around 360 individuals in the period 1500-1640 – but it does weave nonwhite Britons back into the texture of Tudor life. Black Tudors came to England through English trade with Africa; from southern Europe, where there were black (slave) populations in Spain and Portugal, the nations that were then the great colonisers; in the entourages of royals such as Katherine of Aragon and Philip II (who was the husband of Mary I); as merchants or aristocrats; and as the result of English privateering and raids on the Spanish empire. “If you captured a Spanish ship, it would be likely to have some Africans on board,” says Kaufmann. “One prized ship brought in to Bristol had 135. They got shipped back to Spain after being put up in a barn for a week. The authorities didn’t know quite what to do with them.”

Although there was no legislation approving or defining slavery within England, it could hardly have been fun being “the only black person in the village” – such as Cattelena, a woman who lived independently in Almondsbury and whose “most valuable item … was her cow”. Nonetheless, Kaufmann uncovers some impressive lives, such as the sailor John Anthony, who arrived in England on a pirate’s boat; Reasonable Blackman, a Southwark silk weaver; and a salvage diver called Jacques Francis. Kaufmann points to them as “examples of people who are really being valued for their skills. In a later age, you get these portraits of Africans sitting sycophantically in the corner looking up at the main character, but they’re not just these domestic playthings for the aristocracy. They’re working as a seamstress or for a brewer. Even in aristocratic households they are performing tasks – as a porter, like Edward Swarthye, or as a cook – they are doing useful things, they get wages. John Blanke, a royal trumpeter, gets paid twice the average wage of an agricultural labourer and three times that of an average servant. They’re not being whipped or beaten or put in chains or being bought and sold.”

I balk at the names black Tudors were given – Swarthye, Blanke, Blackman, Blacke – and at the idea that trudging out an existence as a Tudor prostitute, like Anne Cobbie, a “tawny Moor” with “soft skin”, is any great win for diversity. But it does seem that black Tudors are no worse off than white ones. At a basic level, they are acknowledged as citizens rather than loathed as outcasts. “It’s enormously significant, given how important religion was, that Africans were being baptised and married and buried within church life. It’s a really significant form of acceptance, particularly the baptism ritual, which states that ‘through baptism you are grafted into the community of God’s holy church’, in which we are all one body.”

Kaufmann says she feels “anxious, because people might not like” her book. “Part of it is the surprise element: people didn’t think there were Africans in Tudor England. There’s this fantasy past where it’s all white – and it wasn’t. It’s ignorance. People just don’t know these histories. Hopefully this research will inspire producers to get multiracial stories on our screens.”

Although she is very generous with her time, Kaufmann has been uneasy, even to the point of seeming dissatisfied, throughout our conversation. She goes cautiously silent when I try to link her concerns to current issues such as Brexit, racism or the rise of populist nationalism. Part of the reason might be wariness at the vicious online treatment meted out to women of expertise when they comment on current affairs or state a fact that goes against philistine fantasies. Earlier this year, the historian Mary Beard was the target of abuse for corroborating an educational film for children which showed a well-to-do black family living under the Roman empire.

This resistance to accepting a black history is not confined to the lower reaches of Twitter. The academic and novelist Sunny Singh has written about director Christopher Nolan’s film Dunkirk, which erased the presence of Royal Indian Army Services Corp personnel and lascars from south Asia and east Africa working for the British and, on the French side, Moroccan, Algerian and Tunisian troops from France’s colonies. The comedian Mark Gatiss was so disturbed by the presence of one black actor in the cast for a Doctor Who time travel episode he was filming that he sent a “very difficult” email to his bosses protesting that “there weren’t any black soldiers in Victoria’s army”. Rattled, he did his own research and discovered that there had indeed been one black soldier there, whereupon he relented.

Despite her work in filling in these historical blanks, Kaufmann laments the scarcity of complete evidence: “I wish they had kept diaries or preserved letters. Much as I’ve pieced together these lives, they’re not satisfying biographies where we know everything – more often, they are snapshots of moments.” Nonetheless, the tide is turning against the myth that England has always been a monoracial, monocultural, monolingual nation. Along with writers such as David Olusoga, Paul Gilroy and Sunny Singh, and institutions such as the University of York, which has launched a project investigating medieval multiculturalism, historians such as Miranda Kaufmann are bringing England to a necessary reckoning with its true history.

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Extraordinary lives: some black people in Tudor England

John Blanke, the musicianOne of the court trumpeters, he was present in the entourage of Henry VII from at least 1507. He performed at both Henry VII’s funeral and Henry VIII’s coronation in 1509.
Jacques Francis, the salvage diverAn expert swimmer and diver, he was hired to salvage guns from the wreck of the Mary Rose in 1546. When his Venetian master was accused of theft in Southampton, Francis became the first known African to give evidence in an English court of law.
Diego, the circumnavigatorDiego asked to be taken aboard Sir Francis Drake’s ship in Panama in 1572. Diego and Drake circumnavigated the globe in 1577, claiming California for the crown in 1579.
Anne Cobbie, prostituteCobbie was one of 10 women cited when the owners of the brothel where she worked were brought before the Westminster sessions court in 1626.
Reasonable Blackman, the silk weaverHe lived in Southwark around 1579-1592 and had probably arrived from the Netherlands. He had at least three children, but lost two to the plague in 1592.
Mary Fillis, servantThe daughter of Fillis of Morisco, a Moroccan basket weaver and shovel-maker, Mary came to London around 1583-4 and became a servant to a merchant. Later she worked for a seamstress from East Smithfield.
Dederi Jaquoah, merchant and princeJaquoah was the son of King Caddi-biah, ruler of a kingdom in modern Liberia. He arrived in England in 1610 and was baptised in London on New Year’s Day 1611. He spent two years in England with a leading merchant.


Black Tudors: The Untold Story by Miranda Kaufmann is published by Oneworld (£18.99 rrp). To order a copy for £16.14 with free UK p&p, visit guardianbookshop.com or call 0330 333 6846.

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'Spooky Action At A Distance'... and the whole "Only Lovers Left Alive" OST


 I dreamt of a film that would be written for the music...

And I found this one:


Only Lovers Left Alive - OST full





Jozef Van Wissem / Sqürl - 'The Taste of Blood'





SQÜRL -- 'Spooky Action At A Distance'








Yasmine Hamdan - 'Hal' (Jim Jarmusch Edit)





#Love


28/10/2017

Algiers, in pictures



Four years ago, this time of the year, I was travelling in Algeria. It is not an easy journey to summarize... I had not come in years. It was quite shattering and deeply unsettling. But I just want to show the outstanding beauty of it for now.

Mostly Algiers pictures.

Hope you enjoy.


























And Tipaza: