The structure of white supremacy feeds off the narrative of the ‘docile slave.’ Painting Black people in history as submissive beings upholds the white conscience; it tapes over white people’s historical and present reliance on oppression for their mental stability and superiority, by suggesting that Black people were willingly inferior. When, in reality, Black people have been rebelling with might since their capture.
Norfolk’s music, gig and free party scene is a vibrant stream of colour, with bright red, gold and green gushes moving through the illuminous pool. Reggae, dub, jungle, drum n bass and techno can easily be discovered blaring from a stack of speakers in a venue or elusive field in and around Norwich. Norfolk loves sound system culture, but many of those same people who dance to this music are quiet in the struggle against racism.
“Babylon A Fall,” they shout. But what does that actually mean?
I was told that The Empty Horizon was a sequence of poems written in the voice of Roisin, a writer and illustrator of children’s books who is losing her sight due to the genetic condition Retinitis Pigmentosa. Initially, I wondered why – if Rosin is a writer – why she could not write these poems herself. Although it seems obvious that there is a mutual relationship established, why should a man tell the story of a woman who is a writer, and thus capable of writing it herself? Although losing her sight, as a writer, would it not be better to tell her own story through her own spoken words, rather than Carney being the author of this text?
In recent years the discussion of gentrification and globalisation has become almost unavoidable – and for the most part, these terms have now been resigned as popular buzzwords in pseudo-intellectual conversations. As glib as this may sound, I shall do my best to explain.
While many a piece has been written on this subject, this is in fact not my primary focus. My intention is not to deny the lived and consequential reality of western mobilisation, but rather look towards the supporters and benefactors of this growing socio-economic practice. In particular, a generation of young people who are forgoing academic careers in favour of acquired/inherited wealth and personal development. More specifically, I will focus on my experience in post-Brexit Germany.
by Asia Patel
by Alex Valente
Star Wars. One of the biggest franchises not only in its field, but spanning a multimedia galaxy, has now become even larger after being acquired by Disney. Ranging from books to comics, toys to videogames, music to clothing, costumes, and theme parks. Drawing in accolades, from die-hard fans to casual viewers, from across the world. Star Wars. One of the most impactful, politically muddled, and bizarrely misguided products – and symbols – of Western media.
It was inevitable. As a self-professed nerd, casual toy collector, avid comics-reader, in the presence of one of the biggest releases in cinematographic history about to hit screens worldwide, I could not not dedicate an article to Star Wars. As a Norwich Radical writer, on the other, I also cannot not recognise the immense (infinite?) power and sway the franchise holds, in popular and consumer culture. Just how much of it is really looking forward, and how much is stuck in A Long Time Ago..?
by Jess Howard
Artistic appropriation is in no way a new phenomenon. Painters and sculptors have been reproducing their own versions of classic art works for centuries. Picasso for instance, took his own stance in the 1950’s when he appropriated Eugene Delacroix’s The Women of Algiers, by painting the women from behind. And Andy Warhol famously lost a lawsuit in the 1960’s over the design of his Flowers piece. But how does the art world address this kind of appropriation when an image has been sourced directly?
Last month Richard Prince, no stranger to appropriation, caused controversy with his New Portraits exhibition, by displaying a series of images in the Gagosian Gallery in Los Angeles that he had directly taken off of Instagram. There was no editing, no unique angle, and no form of reproduction. He simply blew the images up, added one last comment, and hung them in gallery. They then proceeded to sell out at the Frieze Art Fair, with the pieces reaching over £56,000 each. This brings into question the idea of possession and identity, both on the internet and within artistic expression. If you place images on a public forum, do they automatically become public property?