15/04/2017

From Florence with love


 Just because I was looking for peace, for harmony, for nature and beauty, I travelled to Florence, Tuscany, Italy. If you follow this blog, you know how much I love this beautiful country, with a special love for Roma and Napoli, the South of Italy, that feel like where I could come from... If I came from a single place...

Sharing for those of you who like gardens and architecture.

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Home garden:



Florence's city centre: from the Palazzo Vecchio to the Duomo








Squares and markets:



Churches of course:


The river Arno and bridge :



Giardino di Boboli :













Art, old and very new - Bill Viola at the Palazzo Strozzi:





















View from above












Grounded around water and earth...








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See you again soon, Italy.


"Ni noires ni blanches : histoire des musiques créoles"



Sortie le 4 mai prochain de ce beau projet de livre :

https://www.amazon.fr/Ni-noires-blanches-histoire-musiques/dp/B01MQRSWTX


Ni noires ni blanches : histoire des musiques créoles


Dans leur conquête du Nouveau Monde, les Européens font venir des esclaves d'Afrique. Sous le crime contre l'humanité va fleurir un des phénomènes culturels les plus féconds de l'Histoire, la créolité. Par centaines, des genres musicaux originaux naîtront pendant plusieurs siècles sur plusieurs continents, définissant la majeure partie de notre paysage musical contemporain –; biguine, bossa-nova, calypso, chachacha, dancehall, danzón, forró, gospel, jazz, kompa, mambo, merengué, milonga, morna, negro-spiritual, ragamuffin, reggae, reggaetón, rocksteady, salsa, tango, zouk... 
Toutes ces musiques ont en commun de n'être ni africaines ni européennes, ni seulement noires ni seulement blanches, ni seulement dominatrices ni seulement opprimées. Leur commune origine historique les unifie plus que tout autre caractère : elles sont créoles. 

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Auteur d'ouvrages consacrés à l'histoire des musiques populaires ou à des vies d'artistes ( Dictionnaire amoureux de la chanson française, 2016 ;  Tout Gainsbourg, 2016 ;  Jean Yanne à rebrousse-poil, 2012), Bertrand Dicale est également chroniqueur sur France Info et auteur de documentaires pour la télévision. 

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Plus de détails


BERTRAND DICALE EXPLORE LA CULTURE CRÉOLE

Publié le 14 avril 2017
Dans leur conquête du Nouveau Monde, les Européens font venir des esclaves d’Afrique. Sous le crime contre l’humanité va fleurir un des phénomènes culturels les plus féconds de l’Histoire, la créolité. 
par Bertrand Dicale




Afoxé, blues, bomba, bossa-nova, bouladjel, bouyon, brega, calypso, candomblé, cantoria, dancehall, danzón, kru, kuduro, nueva trova, nyabinghi, pachanga, pagoda, quelbe, romance, son cubano, twoubadou, umbanda, vallenato, valse créole, xaxado, zamacueca, zouk…
La liste pourrait s’étendre encore pendant des pages et des pages, puisque des centaines de genres musicaux ont fleuri depuis le XVIIe siècle dans les pays où l’expansion des nations européennes au Nouveau Monde a eu recours à l’esclavage. Cette conquête a des conséquences culturelles qui s’entendent quotidiennement aujourd’hui dans n’importe quelle rue de n’importe quel pays, tant les musiques nées dans ces nouvelles nations ont manifesté une capacité singulière à déborder de leur espace natal et à voyager selon tous les axes possibles.
Certains de ces genres ont bénéficié de la puissance économique, politique et symbolique des États-Unis, et d’autres se sont imposés parce qu’ils s’opposaient à cette puissance. Certains genres ont été propagés par des stars planétaires et d’autres par une poussière d’artistes anonymes. Certains ont connu une mode fugace et d’autres règnent depuis des générations. Certains ont fait souche sur des continents lointains et d’autres n’ont connu qu’une propagation limitée à des nations du Sud.
Curieusement, l’habitude ne s’est pas imposée, dans les travaux des musicologues comme dans le savoir diffus des journalistes ou des passionnés de musiques, de considérer que tous ces genres musicaux sont liés par leur commune généalogie. On a souvent préféré scinder cet immense ensemble soit par région (l’Amérique du Sud, l’océan Indien, les Antilles, le Brésil…), soit par aire linguistique (le domaine anglo-américain, les musiques latines…), ou encore par période historique. On a tenté trop rarement d’en appréhender le vaste domaine de manière globale, en se souciant plus de sa commune origine que de son éparpillement, en s’intéressant plus à son essence historique qu’à sa contingente fragmentation.
Car tous les genres énumérés ci-dessus ont pour commune origine ces moments de l’Histoire qui ont vu se rencontrer colons européens et esclaves africains — puis leurs descendances — dans les trois Amériques entre les XVIIe et XXe siècles. Ce domaine a quelques excroissances dans l’océan Indien, en Afrique et même en Asie, et inclut aussi des populations venues d’Inde ou d’Extrême-Orient et, évidemment, les peuples premiers d’Amérique. Ce Nouveau Monde qui bouleverse la géographie voit aussi s’enchevêtrer les chronologies, telle évolution concernant Cuba au début du XVIIIe siècle ne touchant la Réunion que deux cents ans plus tard, ou tel phénomène (la disparition des quadrilles d’inspiration française, par exemple) survenant de la même manière à des moments très différents des XIXe, XXe ou XXIe siècles selon les îles des Antilles ou de l’océan Indien.
Il nous semble également qu’un classement esthétique de ces musiques fait trop radicalement l’économie de la réalité humaine. Certes, il est très naturel, lorsque l’on aborde l’étude des musiques du Brésil ou de la Martinique, de se concentrer sur les spécificités et sur les évolutions idiosyncrasiques, et donc de considérer que la polka ou le jazz de big band est une musique « étrangère » et donc superflue dans la réflexion sur la naissance ou l’évolution de genres locaux. Mais on en vient à se priver d’une vision d’ensemble sur ces cultures et les modalités de leurs échanges. C’est — pour employer une terminologie forgée par Édouard Glissant, auquel nous reviendrons bientôt — faire plus de cas des fantasmes de racine que de la réalité de la Relation[1]. Autrement dit, on considère trop facilement les genres énumérés ci-dessus comme des signes d’une identité claire et profonde, alors qu’ils sont le plus souvent le reflet d’un état transitoire d’un rapport en forces sociales, historiques et culturelles, au sein d’un système de représentations d’une féroce complexité.

Extrait de Bertand Dicale, Ni noires, ni blanches : histoire des musiques créoles, Éditions de la Cité de la musique - Philharmonie de Paris (La rue musicale), collection [anthropologie musicale], 2017, p. 78-81. Parution le 4 mai 2017.
Auteur d'ouvrages consacrés à l'histoire des musiques populaires ou à des vies d'artistes (Dictionnaire amoureux de la chanson française, Plon, 2016 ; Tout Gainsbourg, Jungle, 2016), Bertrand Dicale est également chroniqueur sur France Info et auteur de documentaires pour la télévision. Il présentera son ouvrage à la fin du colloque Coloniser / Décoloniser par la musique, le vendredi 21 avril à 18h30, en Salle de conférence de la Philharmonie. 

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Et bientôt :
Colloque

COLONISER/DÉCOLONISER PAR LA MUSIQUE

Vendredi 21 avril 2017
18h30  Entretien avec Bertrand DICALE, par Matthieu CONQUET : Histoire des musiques créoles
À l’occasion de la parution de Ni noires, ni blanches : histoire des musiques créoles aux Éditions de la Philharmonie (La rue musicale) dans la collection [anthropologie musicale]
Lien :

08/04/2017

Massive Attack's Blue Lines - 1991 / 2017


Happy Birthday to Blue Lines!
Massive Attack's genius debut album was released on April 8, 1991.

An incredible story began...

Here are a few links to listen:


Massive Attack - 'Five Man Army'



Massive attack - 'Blue Lines'



Massive Attack- 'One Love'



Massive Attack - 'Safe From Harm'



Massive Attack - 'Daydreaming'



And of course...


Massive Attack - 'Unfinished Sympathy'


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My book about the band and their relation to Bristol will be out in the UK in about six months.

Until now, for French readers, here are the details:



En dehors de la zone de confort

De Massive Attack à Banksy, l’histoire d’un groupe d’artistes, de leur ville, Bristol, et de leurs révolutions




Qu’ont en commun le Pont suspendu d’Isambart Brunel, l’acteur Cary Grant, le groupe Massive Attack, le plasticien Damian Hirst et l’artiste de rue Banksy ? Ils sont tous originaires de Bristol, une ville moyenne de l’ouest de l’Angleterre. Une ville marquée par une histoire riche et complexe, mais encore jamais racontée !

Marquée par une fortune précoce liée à l’ouverture de l’Angleterre vers l’Amérique, elle devient aussi un des points névralgiques du commerce triangulaire. C’est justement cette histoire qui va nourrir, de manière inédite et radicale, la génération d’artistes éclose à Bristol à partir de la fin des années 1970. Post-punk et reggae se rencontrent autour de groupes comme Black Roots, le Pop Group puis The Wild Bunch.

Tout prend forme lorsque qu’un jeune graffeur anglo-italien du nom de Robert Del Naja signe du pseudonyme de 3D sa première œuvre de rue sur un mur de la ville en 1983. Avant de fonder le groupe Massive Attack en 1988 avec les DJs Grantley Marshall et Andrew Vowles, il rencontrera sur sa route les pionniers du post-punk de Londres et Bristol, les passionnées de reggae antillais du quartier de Saint Pauls, puis la chanteuse Neneh Cherry et le rappeur Tricky. Creuset inattendu mêlant hip-hop, reggae, soul et guitares rebelles, le premier album de Massive Attack, Blue Lines, sort en 1991 et provoque une révolution dans la culture populaire britannique. Massive Attack devient l’incarnation du succès d’un métissage à la britannique, et parviendra à toujours se renouveler, tenter de nouvelles révolutions et durer au-delà de nombreux mouvements musicaux des années 1990 et 2000, telles la Brit Pop, l’electronica et le drum and bass.

Dans le sillage de cette créativité débridée mêlant musique, art et implication sociale profonde, naissent aussi les groupes Portishead et Roni Size, les mouvements nommés trip-hop et dubstep, et le génial Banksy, inspiré dès son plus jeune âge par les graffitis de Robert Del Naja. Depuis, la profondeur artistique de ces artistes et leur engagement n’ont fait que se renforcer, tout comme leur lien avec leur ville. Ce lien va devenir le tremplin qui les porte jusqu’à l’autre bout du monde, de l’Amérique à Gaza. Il pousse aussi très tôt Robert Del Naja à se mobiliser – contre la guerre d’Irak, pour les droits des Palestiniens ou plus récemment pour l’accueil des réfugiés jetés sur les routes européennes. Rébellion, art, musique, engagement, Bristol synthétise ainsi une autre histoire du Royaume-Uni. Une histoire qui amène au sommet des charts et sur le devant de la scène de parfaits autodidactes et la part plurielle et afro-antillaise de la culture britannique.

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Mélissa Chemam, journaliste depuis 2004, s'est arrêtée à Bristol après de nombreuses pérégrinations dans le monde entier. Son premier livre De Massive Attack à Banksy, l’histoire d’un groupe d’artistes, de leur ville, Bristol, et de leurs révolutions est l'aboutissement d'un passionnant travail journalistique sur une ville qui a accueilli un groupe d'artistes mondialement connu !

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Pour trouver le livre 




07/04/2017

The View Of A Syrian



View from an Syrian expert in London. What a terrible, terrible war. 
And we are all responsible in a way...

Ghias Aljundi
on Facebook this morning

Just to explain few things to some of my English and European friends, 98% of Syrians I know or read what they are writing, are happy with the US hit against the war criminal Assad's regime last night. The vast majority of them do not trust Trump or the US or the West and they do not trust them that they would do a substantial step to remove this mad killer from power or kick the fascists Iranians and Russians out of Syria, but when you see the pain our families and friends who are still living inside Syria you understand why they are happy. From this military airport, Assad, the Iranians and Russians have been killing Syrian people for the last six years. If you were Syrian, would not you be happy to see this place destroyed? 
So please ignore whether the US hit was legal or illegal there is no war legal and we in an ideal world must not have wars. The biggest illegal thing is a mad killer still in power for 6 years of massacres and mass killing. The illegal that Obama set him a red line and did not keep it so Assad took terrible advantage of that and went unleashed killing hitting raping destroying killing under torture thousands of peaceful activists. 
Assad has not been interested in hitting the armed opposition as much he is interested in hitting civilians. He and the Iranians want the country empty. It is a planned action. When Assad hit with chemical weapons 2 days ago, he went on with the help of the Russians and hit the hospital where victims were receiving treatment. Six years we have been suffering of the entire world’s empty statements. Even us here in Europe and elsewhere are not living normally. Everyday I sleep and dream of waking up with nothing happened to my family. My own family in Syria live in fear of Assad. My family is a peaceful family but they are still horribly targeted by the criminals of Assad. Thousands of peaceful people were killed at the hand of this mad killer and the world is looking indifferently except few words here and there. 
In Greece, I met hundreds of refugees who lost their families by barrel bombs which were loaded in the same airport the US hit yesterday. I recently met a woman who used to live close to the place hit by chemical weapons two days ago. She is in Athens. She lost three of her 4 children and her husband in one go after Assda dropped a barrel bomb on her house. Her family never carried arms or were part of any fighting criminal groups. They were pure civilians stuck in the middle of two fires, the fire of the Assad-Iranians-Russians and the fire of the terrible Islamic groups which I have a strong belief and 100 evidences that Assad created them. What shall I tell that woman in Athens? Do not be happy about the US hit? It is illegal madam? 
I personally repeat what I wrote in the morning, I do not and will not trust a racist mad like Trump but I still feel that the hit was necessary to attempt to stop this cruel mad killer and to send a message to the Russians and Iranians that the game has been changed. You might say the US is doing that for its interest, I agree with you. But what are the Iranians and Russians, the Saudis and Qataris are doing there my friends? 
I really want to see ALL war criminal Assad's military airports destroyed and his warplanes grounded. We will save thousands of civilians lives because for the last 6 years, 90% of Syrian victims were killed from the air. I hope this gives you a little idea about what Syrians are feeling.

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More on Ghias Aljundi:



Syria: "All The Wrong Reasons"


I try to keep on writing... Despite the shocking state of our world.
Finishing my book...

Just have to share this.
By Stephen Bush, from the New Statesman:


Good morning. When I was working for the Telegraph's Ben Brogan on a morning email not unlike this one, he always used to tell me of the importance of "stress-testing the narrative". 

Donald Trump's decision to authorise missile strikes on Bashar Al-Assad's regime in Syria - the first direct intervention by the United States in the Syrian war - upends many of our assumptions about America's new president, but confirms others. 

Yes, the investigation into whether the Kremlin may have co-ordinated with the Trump campaign remains open, and Trump may well owe his presidencyto Russian interference. But it's hard now to claim that the Trump administration is a puppet of Vladimir Putin, particularly as Rex Tillerson has separately announced that it is now the American government's objective to seek "regime change" in Syria. 

As far as the need for a response to Assad's use of sarin gas goes, it's worth revisiting Rory Stewart's 2013 blog. His case for the importance of a response (that the international prohibition on the use of chemical warfare should remain in place) remains convincing while his three conditions that response must satisfy (not to make the conditions for the civilian population worse, to deter Assad from using chemical weapons again, and to send a clear message that the use of weapons will not be tolerated elsewhere) continue to be essential. And as Yvette Cooper noted in her excellent 2015 speech, there can be no defeat of the self-styled Islamic State that doesn't involve the permanent removal of the Assad regime as well. 
(It's worth noting too that the attack has been welcomed by the bulk of Syrian activists.) 

There's a "but" coming though, and it's a big one. All of that has be weighed against the parts of the Trump narrative that have been reinforced, and terrifyingly so, by last night's bombing. The first is that Trump has acted without Congressional or international authorisation, part of the pattern noted in this week's Spectator: that Trump's approach is war and more war, and largely without legislative oversight. 

The second is what it confirms about the volatility and unreliability of Trump. The case against "narrowing the circle of what is prohibited" as Stewart put it remains unchanged since 2013 when Trump angrily campaigned against bombing. The case against Assad as part of the solution in Syria remains unchanged since last year's presidential race, when Trump ran on a platform of doing a deal with Assad. When the facts change, I change my mind: but the facts haven't changed. What has changed is that Trump saw something he didn't like on TV. What will he see next week?

That Trump has acted against the use of chemical weapons and in accordance with the wishes the bulk of Syrian activist groups should be welcomed. That he has done so without authorisation, apparently off the back of a TV report is worrying.  

As I wrote earlier this week, the absence of direct intervention in Syria has been a disaster. That doesn't mean that the unauthorised and inconsistent intervention of a volatile president will be any more successful.

Can we talk about World War III ?


Are we allowed to use the term world war finally?

A few days ago, Putin and Trump were still imagining opening peace talks with Assad... How irrational is this decision to bomb overnight?

When historians will look back, when would they say this world conflict started? 2011? 2003?

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Details from (what remains of) the news:


NewYork Times :


WASHINGTON — In launching a military strike just 77 days into his administration, President Trump has the opportunity, but hardly a guarantee, to change the perception of disarray in his administration.
The attack will also shape the meeting next week between Secretary of State Rex W. Tillerson and President Vladimir V. Putin of Russia — the first face-to-face encounter between the Russian leader and a member of the Trump administration.
Before the strike on a Syrian air base on Thursday night, the meeting had been expected to be dominated by the investigation into Russia’s cyberattacks and the interference in the presidential election on Mr. Trump’s behalf.
But the Syria action gives the Trump administration an opportunity to demand that Mr. Putin either contain or remove Syria’s leader, Bashar al-Assad, or else Mr. Trump will expand the limited American military action — and quickly — if the Russian president fails to do so.

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NYT still:

What We Know

* Fifty-nine Tomahawk missiles were fired from American destroyers in the eastern Mediterranean at Al Shayrat airfield in Syria, where officials said Mr. Assad’s chemical weapons attack this week originated.
* Mr. Trump ordered the strike after two days of intense deliberations that involved two meetings of his top national security advisers, including one that Mr. Trump conducted from his Mar-a-Lago estate in Florida.
* In announcing the strikes on Thursday evening, Mr. Trump called the chemical attack “very barbaric” and said his decision would “prevent and deter the spread and use of deadly chemical weapons.”
* Administration officials described the missile strikes as a message to the world about Mr. Trump’s resolve and his commitment that the United States will no longer “turn away, turn a blind eye.”
* American officials did not inform Russia’s president, Vladimir V. Putin, whose forces are also active in Syria, before the strikes. In a briefing, Secretary of State Rex W. Tillerson criticized Moscow for failing to live up to its promise in 2013 to destroy all of Syria’s chemical weapons, calling Russia either “complicit” in the recent attack or “incompetent.”

What We Don’t Know

* The strike’s impact on the airfield’s capabilities. H. R. McMaster, the president’s national security adviser, said Mr. Assad would “maintain a certain capacity beyond this particular airfield” to use chemical weapons.
* Officials did not provide details about casualties at the airfield, either among Syrians or among others, including Russians, who might have been there when the missiles struck their targets. Officials said measures had been taken to minimize casualties among “third-country nationals.”
* American officials did not publicly address the potential reaction from Mr. Assad or his allies in Russia and Iran.
* It is hard to know whether Mr. Trump’s use of military force this early in his term is an indication that he intends to develop an aggressive foreign policy based on the frequent use of force — something he often criticized as a candidate.
* The political impact of the strikes. Presidents often see a quick improvement in their favorability ratings after using military force. But Mr. Trump acted without the consent of Congress, and in the long term, the public may turn against a president for using the military in this way.

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In The Guardian, this powerful column:

Trump's senseless Syria strikes accomplish nothing



The US bombing of a Syrian airfield is flip-floppery at its worst. And it signals to America’s foes that Trump can be easily dragged into military quagmires


Friday 7 April 2017 


Donald Trump, the man who just over a month ago wanted to bar entry of all Syrian refugees into the United States, now wants us to think that he cares deeply about Syrian children. I don’t believe it.
What I do believe is that our president is a bad actor. He was a bad actor on his old television show, and he’s still a bad actor today. And he’s a bad actor in both senses of the term, which is to say his actions are poorly executed and morally questionable. 
Addressing the nation from his Mar-a-Lago estate in Florida, the president announced that he had authorized “a targeted military strike on the airfield in Syria from where the chemical attack was launched.” Trump was referring to a chemical weapons attack on Tuesday that killed more than 80 people, including dozens of women and children, in the rebel-held town of Khan Sheikhoun. The chemical attack had in all likelihood been carried out by the Syrian dictator Bashar al-Assad.
But what will the US’s military strike – a barrage of at least 59 (offensively named) Tomahawk cruise missiles aimed at a lone airfield – really accomplish?
According to reports, the missiles targeted only a single Syrian airfield and not Syria’s air defenses. In other words, the attack does not ground Syria’s air force. Nor did the attack strike any of the Russian aircraft currently bombing Syria. In fact, the Russians were alerted of the attack beforehand (who may, in turn, have also alerted the Syrians). The attack does not significantly degrade the military capabilities of Bashar al-Assad.
So why attack in the first place? Once again, we’re being told by military officials that their actions are intended “to send a message.” What nonsense this is. Will Bashar al-Assad now cease his murderous actions because he’s just been delivered “a message”? How are we supposed to believe there is any strategy to Trump’s actions anyway? Just last week, Nikki Haley, Trump’s UN ambassador, said of Assad: “Do we think he’s a hindrance? Yes. Are we going to sit there and focus on getting him out? No.”
What the erratic flip-floppery of Trump’s foreign policy really means is that America’s foes can easily manipulate the Trump administrationinto greater and greater military quagmires. 
Has the administration considered how Lebanon’s Hizbullah will react to the US bombing their close ally Bashar al-Assad? Is the Trump administration prepared to put large numbers of troops on the ground to accomplish its goals? Will it militarily challenge Russia if needed? Or does the US military now only “send messages”?
The administration seems to have no vision of what it wants to accomplish or what it can accomplish. Trump ended his announcement of Thursday’s strike with the modest goal of ending “terrorism of all kinds and all types.” Good luck with that. Meanwhile, the heart of the problem is that the United States seems always to have only one solution to war: make more war. 
None of this exonerates the murderous, thuggish and brutal regime of Bashar al-Assad. The moral and strategic imperatives of our world today demand that the Syrian civil war be brought to a swift and just conclusion. And we must recognize that the end of Syria’s civil war will not be found through military means but through careful deliberation between many different parties. 
But we are moving farther away from those goals. At its best, Thursday’s reckless and largely ineffective bombing does little but make US lawmakers feel good about themselves. At its worst, it deepens a war which the US has no idea how to end.

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06/04/2017

Museum on Migration Issues Will Open in London



The UK’s first museum dedicated to migration will open in London later this month in a bid to create the “UK’s equivalent of Ellis Island”.


26 Lambeth High Street, London SE1 7AG
Opens Weds 26 April 2017 | Weds–Sun (plus bank holidays) 10am–4pm | Free admission
Our new Migration Museum at the Workshop in London opens to the public on 26 April 2017 at 10am.
We will stage an adventurous programme of exhibitions, events and education workshops telling stories of movement to and from Britain at our new museum, situated within the Workshop, an exciting arts and community space just off Albert Embankment.



What’s on:
Exhibitions
Call Me by My Name: Stories from Calais and Beyond
26 April 2017–30 July 2017
A critically acclaimed multimedia exhibition exploring the complex and human stories behind the current migration crisis, with a particular focus on the now-demolished Calais camp. Originally staged in June 2016, this updated exhibition is both a record of a complex temporary space that no longer officially exists and an exploration of the stories and creativity of those who passed through the camp, many of whom continue to face an uncertain future.

100 Images of Migration
26 April 2017–30 July 2017
100 Images of Migration is a collection of diverse images by professional and amateur photographers. The subjects of these images range from the unique to the everyday; together they tell a compelling story about what migration means now to people across the UK.




Details:

Housed in The Workshop in Lambeth, a new arts space once used for repairing fire engines, the museum will launch on April 26 and explore how the movement of people has shaped British history. 
“We ought to have in this country a cultural institution that puts Britain’s migrant population and their stories at the centre,” Sophie Henderson, a former immigration barrister who is now the Migration Museum’s director, said. “It’s the topic that’s on everyone’s lips — even more so now after the EU referendum. People’s attitude to migration matters. There is such a strong case for a calm, sober, well-informed discussion and a venue for those conversations. This will be the perfect place to unpick what people think.” 
The opening programme will include Call Me By My Name, an exhibition on the Calais “Jungle”, and a photography collection, 100 Images of Migration. 
In the autumn, a new exhibition,  No Turning Back: Seven Migration Moments That Changed Britain, will open, looking at major migration movements back through British history in the context of Brexit and forward to 2020, when mixed-race Britons are projected to be the biggest minority group in the country. 
The project has more than 100 high-profile supporters, who include Labour peer Lord Dubs, who fled Nazi-occupied Czechoslovakia as a child and came to London on the Kindertransport, writer Sir Salman Rushdie, actress Joanna Lumley, novelist Dr Jung Chang and broadcaster Jon Snow. Trustees include Charles Gurassa, chairman of Channel 4, and Robert Winder, author of Bloody Foreigners: The Story Of Immigration To Britain. 
The space will house the Migration Museum until at least February 2018; the goal for the museum is then to move into a permanent space. 
“We would like a full-time venue in London that is the go-to destination for conversations about Britain’s migration history,” Ms Henderson added. “We think it’s a subject that merits its own space. Ellis Island is what inspired me — going there and thinking, ‘Why don’t we have one in the UK?’”
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More info:

Migration Museum Project is increasing knowledge and appreciation of how migration has shaped Britain across the ages through the creation of an authoritative and inspiring permanent national Migration Museum, a far-reaching national education programme, and a knowledge-sharing network of museums and galleries across the UK.
Since 2013, we have staged an acclaimed series of events, exhibitions and education workshops at a wide range of venues across the UK, shedding light on the lively part that migration plays in the national life, and helping us to hone our strategy and receive input and feedback from individuals and communities as we work towards our goals. Our exhibitions and events have been attended by over 100,000 visitors, while more than 3,500 school children have participated in our education workshops.
Our new Migration Museum at the Workshop is a major step forward for MMP, building on our previous work and providing a showcase for the permanent Migration Museum for Britain that we are creating. Being based at a central London venue until at least February 2018 will enable us to raise our profile, expand audience reach, deepen links with community groups and schools, and test ideas for the permanent museum that we aspire to create. We are also establishing an Arts Council England-funded Migration Museums Network, bringing together heritage-sector organisations across Britain to share knowledge and best practice, with the aim of increasing and improving outputs related to migration across the UK heritage sector.
The Migration Museum Project has secured the support of a wide range of distinguished friends – high-profile supporters who back our vision and ambitions. Our team and trustees encompass individuals with a diverse range of experience and expertise – all of whom share a passion for telling Britain’s migration stories in a dedicated national museum. We have brought together an Education Committee from a range of relevant backgrounds who guide and support our learning work, and have convened a high-powered steering committee for our Migration Museums Network.
We have received funding and support from a range of academic, arts, charitable and corporate organisations and trusts over the past four years, including: Alfred Caplin Charity Settlement, Arts Council England, The Baring Foundation, City Bridge Trust, Doris Pacey Charitable Foundation, Economic and Social Research Council, Esmée Fairbairn Foundation, Hogan Lovells, Kohn Foundation, Londonewcastle, Migration Foundation, Nadir Dinshaw Charitable Trust, Paul Hamlyn Foundation, PricewaterhouseCoopers LLP, Rayne Foundation, Rothschild Foundation, The Schroder Foundation, Sigrid Rausing Trust, UBS and Unbound Philanthropy.
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Link:
http://www.migrationmuseum.org/workshop/