by Liv Barnett
Barbershop Chronicles is a ride which buzzes with energy from the first shaves to the final fades. It is written by Inua Ellams, UK-based poet, playwright and performer, and is an exhilarating play that identifies various aspects of black men’s experience through snippets of stories and interactions in barbershops that Ellams overheard as he travelled throughout Africa. Like hairdressers or taxi rides, barbershops can be intimate spaces for banter, storytelling and confession. With generosity and patience, this play does a good job of allowing audience members to step momentarily into the world of men’s chats. We become part of the warmth and banter between sensitive characters and appreciate the feelings and analyses that come with post-colonial politics, experiences of cultural change, complex family dynamics and making a living amongst love and friendship.
by Carmina Masoliver
Sense Me, by Annum Salman, arrives in a beautiful box filled with paper hearts, shredded tissue paper and a plastic blue quill-style pen. I received it after seeing her feature at That’s What She Said, a spoken word night in London. The book and the box are perfect for Instagram, yet I didn’t expect to see a ‘social media etiquette’ flyer inside, which strikes me as a clever touch necessary for a self-published text.
by Tom McGhie
Content warning: sexual harassment, sexual abuse, misogyny
There are few greater feelings than when an artist connects with their audience at a gig, something more than just applause and guitar chords. Most people have, at some point in their lives, attended a gig which has stuck in their memory because of that very exchange between performer and public. This visceral communication is what propels music as one of the most important art forms; it brings people together in an ever-dividing societal sphere.
By Eli Lambe
There are individual, form-based and contextual reasons the performance of Slam Poetry often goes viral – as a form it is rooted not in the appearance of words on a page, but in the exchange between poet and audience, the intense and intentional circulation of emotion between the two. Originally conceived as a way of getting out from stuffy academic interactions with poetry, the form has grown since the first slams in the 1980’s and has, over the last decade, been reaching wider and wider audiences through YouTube and social media.
by Lewis Martin
On Sunday 6th May I attended Scratch It! hosted by Hack Theatre at the Norwich Arts Centre. Aimed at attracting new writers and ongoing projects, the evening looks to give a platform to work that is happening in the area so it can be developed and flourish. The arts varied across the evening, ranging from comedy to drama and using different styles and formats.Continue Reading
by Carmina Masoliver
Piles of colourful patterned fabrics line the stage, and three women dressed in black Lycra leotards select a fabric and wrap it around their head. The fabrics are drawn across the stage as the performers’ bodies undulate in a backwards crawl, before the scene is set as a hair salon with the colours swept away in a swirl around a chair.
As the title The Hair Wrap Diaries suggests, during this Uchenna Dance production written by Bola Agaje in partnership with director and choreographer Vicki Igbokwe, we hear different stories from each performer. Yet the show is also interspersed with dance, giving it a strong sense of poetics as the words are broken up and repeated with the movements. The stories themselves are carefully selected, offering a rainbow of different generations of black women, exploring their relationship with hair.Continue Reading
by Carmina Masoliver
I was invited to the premiere of Bad Faith, a collaborative piece by by English poet, Jemima Foxtrot, Belgian choreographer, Tara D’Arquian and Icelandic designer Fridthjofur Thorsteinsson. They worked with poetry, lighting design and dance to explore Sartre’s concept of bad faith through themes of womanhood and loss.