This presentation was produced by Athina Fokidou for the MSc Security class (combined) at the School of Oriental and African Studies, University of London, 2018.
The Case study is the destruction of the Dawlish seafront railway in the South West coast of the United Kingdom by climatic events and the consequent political battlefield of unmet promises.
The objective of the presentation is to raise awareness of the players in responses to climate, their intentions and unknown coercive strategies in the nexus of the state and individual contractual exchange.
The past few weeks have seen historical levels of political unwill in the US and UK.
Despite the repetitive votes in the parliament on Brexit options, across the pond, considerations over at which level the business interests of the President are conflicting with responsibilities in the public office, have been held back by senior Democrats.
Not very unlike the Labour leader’s opposition to the EU, and dislike the Tories are in the driving seat of the negotiations, with Theresa May being traditionally pro-EU – a clarity of parliamentarian’s will, is anything but a clear cut between for and anti-Brexit voices.
The confusion in UK and US is the re-divergence of the drivers behind people’s voting preferences. Traditional politics, that of the left and the right, have hegemonized to the extent of other areas of connectivity between political preferences has emerged.
Some may think the opinion Brexit will never happen and that Trump will not see through a second term, is premature today. Rightly the politics are still shedding old skin and testing new voices. Traditional far rightism may see some rise or tv coverage however in temporality, people seek new ideas, often held by the young.
Unquestionably it is a unique time in history to live and experience the shifts, twists, and stretches. Yet the presence of Extinction Rebellion and Young People’s Climate Strikes over the past few weeks have an 80’s tone, the global problems are ours and they are ignored by politicians continuing the pursuit of fast results and short term solutions. In the background, seals are dropping off to their death from cliffs in the Arctic they have not had to climb before when the ice area was 40% larger than it is today.
The tide is certainly changing, and we are running out of those in ye olde politics – inevitably will need to work together, for their own survival.
No Brexit more likely than a disorderly one, say economists
From the Contemporary Art in the Global (MSc School of Oriental and African Studies)
Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji
The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection? Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance. The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood. The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction. Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change. When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story. Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching. We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.
Rothko. M, ‘Orange and Yellow’, 1956:
Rothko “Silence is so accurate.” Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet? A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational. Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.
Bowling. F, ‘Who’s afraid of Barney Newman’, 1968
The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England. The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?
Tanaka, A. ‘Electric dress’ 1956
Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being. Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)
Walcott, D. ‘Love after Love’, 1948–1984
Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself? Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be. The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’. Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.
Baloji, S. ‘Kumbuka’, 2003
Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context. Artwork Labels
Image from eu.art.com Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.
Image from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968 Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.” The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’. Or did he attempt to define frayed around the edges, maybe from wear and tear? The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.
Image from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it. In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time. Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman. Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created. When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.
Image from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s. Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory. Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.
Images from #sammybaloji instagram page Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions. Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country. Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”
Mark Rothko, (b. 1903, Daugavpils, Latvia), Orange and Yellow, 1956, 231.1 x 180.3 cm, Albright-Knox Art Gallery, Buffalo, NY, US
Frank Bowling, (b. 1934 , Bartica, Guyana), Who’s Afraid of Barney Newman, 1968, acrylic paint on canvas, 236.4 x 129.5 cm, Tate
Atsuho Tanaka, (b. 1932, Osaka, Osaka Prefecture, Japan), Electric Dress, 1956, 165 X 80 X 80 cm, courtesy of Museum of Contemporary Art, Tokyo
Derek Walcott (b. 1930, Castries, Saint Lucia), Love After Love, Collected Poems, 1948–1984
Sammy Baloji (b.1978, Lumumbashi, Democratic Republic of Congo), Kumbuka!, 2006, Photo collage, various venues)
Foster, H., Marcus, G. and Myers, F. (1995). The Traffic in Culture. California: University of California Press, pp.302-309.
Bishop, C. (2006). The Social Turn; Collaboration and its Discontents. Artforum International.
Chefchaouen is the perfect day or weekend trip on your travels in Morocco.
Famous for the blue painted buildings, more recently featured on French Montana’s ‘Famous’ videoclip
https://www.youtube.com/watch?v=LNHkxOU7zz8 that was filmed in the souks and circular main road around the town sitting on the mountain side. The 33 year old moroccan-american artist is from the Casablanca and often pays tribute to his love for Morocco.
Back to Chefchaouen, the town is easily navigable by foot, but not wheelchair users, or for those with mobility difficulties. Built on the mountain side, souk and town streets climb up and down through the mountain curves, offering exquisite views over the town and the landscape beyond.
Chefchaouen is one of the easier villages to travel through Morocco. It is small enough to walk through in a day, and big enough that you can find another photogenic corner to help you on your dream-scape of what life may be like in the town, or in-fact to those that grow up in the alleys and buildings, protected by the elements and near everything else.
Here are some of the photos from our visit, we arrived on a cloudy and rainy day, yet it was also wonderful to see the town in non-postcard conditions, a different, and what felt more genuine side of life there. Rain gently encouraged us to go into the local cafe, not the tourist ones, and to get lost around the back streets to a school, trying to find a way through to the main square.
Chefchaouen’s location is equally impressive nesting on the mountain feet, reminds you of the perspectives on life which is so easy to forget when bouncing about between places in a city.
You could say Chefchaouen becomes the little blue light, twilight, dream-scape of adventure.
I’m one to preach loudly and stand for what I believe.
I’m the one that I will point to injustice.
I am the one that tonight also feel bad for pointing the finger at someone who I have contrary views to while they put themselves in the public eye to defend those views even though they are ‘out there’.
I don’t like confrontation but learning to present what I believe in more confidently.
Yet that’s only possible when the other party stretches out so they can hear clearer.
Because without that, nothing would ever be possible.
The post is devoted to my day today at the School of Oriental and African Studies, yet it is written with an individual in mind, unrelated to my day at the university, yet being a member of the uni.
I have lived in Peckham from 1994 and have seen various gyms pop up in the area. However, a lot of these gyms did not really fit what I wanted. Recently, I saw an advertisement for a gym of FB and it looked like it hit all the right buttons, more cardio then weights type.
I will now tell you my experience of the gym, as it was interesting to me as I don’t really train at gyms in general.
I was going shopping one morning down Peckham Rye and saw that the F45 Training gym that I saw on FB was advertising their opening, so decided to pop in. I was greeted by a female trainer that was very friendly and was looking to sign me up straight away. The sells pitch was good for a trail membership. Now the gym is purely class based (only downside), meaning you can’t show up and do your own training thing. No big deal for me as I do my own thing with my homeboy and by myself. Goal was to do 1 or 2 hard workouts a week with this gym as it was close to home (main reason for joining.) So back to sales pitch, I would say they had all the right looks to draw people in, attractive trainers, sweet looking new equipment etc.. Now the kicker was the price 189 a month.. Damn am I still in Peckham. Commercial price for commercial gym, I guess.
So knowing it might kill my pocket, I joined as close to home, my type of training and good equipment, sleds, sledge hammers etc..
So I thought the price being what it was that most of the clients would be white as most Peckham people I know ain’t paying that price (Laughing). So attending the classes I noticed firstly more woman than men (no biggy). So I have been to a few classes since joining in August, however, every time I go, I notice that I am the only brother (meaning Dark Skin Black Man) in the class. And first few times only black person period.
Noticed some sistas showing up, but still no brothers. Only brotha I saw was a trainer. So here I am in the middle of Peckham (known to be a so called Black Area) and I am the only brother a the gym, in this day and age gotta make you smile. But this fits in with the Costa and other cafe’s popping up in the area, vape shop etc.. (Gentrification). Luckily I am not bothered about being the only brotha, but now the pressures on to represent (Laughing). So at times it does feel strange, as the only brotha, but I keep my focus, as it is about the work.
Now my theory on why I am the only brotha I have seen is that most guys in general are into the weight training side of exercise more than cardio, so hence less men in general. And most Black guys I know prefer to weight train rather than cardio. So it will be interesting to see if the membership and look of the gym changes over time.
side note- On FB a Sista was looking at the advertisement and said that there were no Black People in the promotional video(interesting). I had a laugh and put in the comment section, that there are a few of us in there including myself. She replied, how come you not in the video, but there is no way I would be in the video as I am not one of there devoted members, I am in and out, so I assume the peeps in the video would be devoted members.
On Sunday, London hosted the annual marathon event, with thousands of participants running the 26 something miles.
The weather was a sizzling 24C with clear skies posing a number of health risks even for the most experienced athletes.
I stood by in Canary Wharf, planning initially to stay only for a few minutes, which turned into hours, after seeing, and being mesmerised by the Kenyan athletes. Their energy is unfathomable, unaffected by the elements, running solidly on their feet, unstoppable towards their own personal target to a medal. Following closely a number of vehicles with cameras indicated the presence of someone important and there you had it, Sir Mo Farah powering through. I was saddened to hear nearing the end of his run that he was seeking a bottle of water, only to be ignored by bystanders wanting to take the best shots as up close as possible. The inhumane treatment of fame, in full display.
Wheelchairs, the visually impaired, following through continued the display of incredible strength of spirit.
Not too long after, people aiming for the 3 hour finish mark, powered through. Pouring sweat and having sustained a considerable amount of sun exposure, gradually more and more were slowing down, even stopping to a walking pace. That was the point, the energy of the crowds and their value, really shined through. At the point where really experienced runners were stopping crowds gathered to encourage on, shouting names of people they didn’t know, edging them to continue on. Strangers, flooding their energy to strangers. The effect was magic happening before our eyes. The runners’ faces lightening up, pace quickening, invaluable seconds saved.
The human endurance has layers unexplored by the majority of us. It doesn’t entertain fear or weakness as concepts. It merely facilitates strength. The psychological status is about completing the task with ease, and resourcing a little more energy for overachieving, unravelling that extra bit of energy as it replenishes itself from the invisible source of confidence.
The fear, and doubt gradually appeared in the lesser trained athletes. You didn’t need to have a discussion. Their feelings stood in front of their faces, attached like a bubble of energy, with rights restricted to the owner exclusively.The take over of these feelings, may as well had been rolled out in a banner. External conditions had made their internal challenge furthermore complex.
This in itself is a very intense experience. It places the human spirit and our conditioning, in the heart of the matter. Challenging mental energy and channelling as well.
Every year I forget… Until I stand by again to watch. And every year I read another layer, of someone running past, a different story, equally important as the very first one, let it be that of the Kenyans or Mo Farah for that matter.
The invaluable value of encouragement. One step at a time, through the stages of being and feeling.
Everything has to do with the mind, and with the limits we have put in and the fact we can overcome them to break them. And what I have done is doping of the mind.
Until the next marathon, exploring the well of our course.