The Norfolk People’s Assembly have voted in co-operation with the Norwich Radical to establish a local Radical Film Festival, with the inaugural festival expected to be hosted in February 2015. As we begin to make provisions for that though, we need ideas, practical and fantastic and everything in between. The first organising meeting for the festival will take place on Saturday the 1st of August, at 3pm in the Playhouse Bar’s Playroom, and is completely open to the public. But why does a cultural project like this even matter in the depths of Austerity? Can we really be wasting our time on building imaginary worlds when our real one is under such threat?
House music, unlike other forms of music, is arguably apolitical — given the absence of lyrics. That doesn’t mean that the scene is apolitical however, as Lithuanian DJ Ten Walls found after committing commercial suicide following his public condemnation of homosexuals over Facebook. Subsequently one of the biggest house festivals in Europe, Hideout Festival in Croatia, cancelled his set, stating: “Hideout Festival is an inclusive event, which is open and accessible to all. Our fans and customers are important to us and we do not tolerate or condone any form of hate. For this reason, Ten Walls will not be playing at Hideout Festival this year.”
From its outset in the mid 80’s, house music has been about inclusivity, openness of expression, and removing society’s invisible boundaries. It is an environment intolerant of abuse and discrimination, with violence actively discouraged. The beauty of house music is in its diversity, fluidity, and ambiguity. What house represents for one person may be different to the next, yet they are still drawn together by the same four bar loop. The music in itself is like a socially binding drug.
The Last Word Festival is a annual festival of spoken word events at The Roundhouse. The organisation supports young artists with their work, giving them a platform to showcase their work, as well as featuring well-established names in poetry, such as East Anglia’s own Luke Wright. The programme was full of acts happening in every crevice of the building, spilling out into bar, where Talking Doorsteps videos were available to listen to on headphones in seating booths. Read on to find more about some of what this year had to offer.
It was my third year of attending the Southbank Centre’s Women of the World Festival, first envisaged and implemented by Artistic Director Jude Kelly, five years ago. The programme was full of interesting performances, discussions, and workshops. I’ll be focusing on some of the arts related events. Part 1 can be found here.
Sunday began with ‘Lips’ choir singing cover songs from artists such as Kelis, Sia, Destiny’s Child and Livin’ Joy’s Dreamer. They sparkled in a mix of sequins, shirts and bow ties, and drew a massive crowd. Poet Bridget Minamore began Who Owns Your Body? on the subject of street harassment, particularly highlighting the racial differences, reflecting on a trip to Peru.
It was my third year of attending the Southbank Centre’s Women of the World Festival, first envisaged and implemented by Artistic Director Jude Kelly, five years ago. The programme was full of interesting performances, discussions, and workshops. I’ll be focusing on some of the arts related events.
After work on the Friday, I caught Kelly’s discussion with radio DJ Lauren Laverne. It was refreshing to hear Laverne’s honesty about the music industry; when she started a band in the early 90s, they were asked who wrote their songs, and recently when interviewing an all-female band, they told her they were still being asked the same question. She emphasised the need for women to support other women, naming Jo Wiley as an important mentor, and how she has set up a new company with Sam Baker called The Pool, wanting to give other women opportunities they would not have otherwise.
Sunday 8th February saw the launch of The Bechdel Test Fest at Genesis Cinema in East London. The test itself emerged after Alison Bechdel published a comic strip, inspired by friend Liz Wallace, where one character has a set of rules for watching a film. The criteria for passing the test are whether the film has two named female characters who talk about something other than a man. It is widely acknowledged as an extremely low bar.
Set up 30 years ago now, it seeks to address the gender bias in works of fiction; it has been found that just around half of films pass this test. With such a low bar set, the figure should be closer to 100%. This festival, led by Corinna Antrobus, puts The Bechdel Test in the spotlight, and aims to provoke discussion on gender in the film industry. In an effect to ‘reclaim the rom-com’, the launch event featured 2014’s Obvious Child and classic The Philadelphia Story — though I couldn’t stay for this part. After the first screening there was a panel discussion, including a video statement from Chloe Angyal about a statement she made that there is “no such thing as a feminist rom-com”, arguing that this is largely because society is still sexist.
by Mike Vinti
Local festival Boom-Bap announced its line-up last week to considerable hype from Facebook’s ‘heads and a somewhat more muted response from the Norwich/ Norfolk public at large. Boom Bap, as the name suggests, is a hip-hop festival — this year it’s taking place in the Suffolk countryside from 5th-7th June. It’s been running for a few years now and is part of an expanding hip-hop and rap scene in Norwich and the surrounding marsh-land between here and Yarmouth. So far they’ve announced Odd Future’s kid wonder Earl Sweatshirt and Skepta collaborating New York group RATKING as headliners, with cult legends Jehru the Damaja and Homeboy Sandman taking high slots on the bill as well. If you were to visit the corner of the internet where rap nerds meet, you’d find thread after thread of discussion and hype surrounding each of these artists, but talk to most people in Norwich or even at the youthful bubble that is the University of East Anglia and they won’t have a clue who you’re talking about.
This is no slight on those people, music is subjective, there’s a lot of it, blah blah blah, but I couldn’t help but wonder why in particular so few people, outside of those who are borderline obsessed, know about Hip-Hop in the UK?