Browse content similar to George the Poet. Check below for episodes and series from the same categories and more!
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the meaning of black culture in music, theatre, writing and | :00:00. | 3:59:59 | |
I have a dream that the black man will have the hand the white man. | :00:00. | :00:19. | |
Black lies matter, White lies matter, everybody's lies matter. | :00:20. | :00:23. | |
Immigration should mean controlled immigration. | :00:24. | :00:45. | |
Black culture is a term used for people of African descent. Is black | :00:46. | :00:58. | |
culture a uniform thing or isolated pockets of creativity? East Coast | :00:59. | :01:07. | |
rap to East London grime. All the similarities, all the differences | :01:08. | :01:11. | |
and the hybrids come with time. Speaking about black culture, often | :01:12. | :01:17. | |
young adults and teens come to me, black music has bridged many gaps. | :01:18. | :01:23. | |
But the Heritage is undermined by the lack of economic ownership. I'm | :01:24. | :01:26. | |
from a generation that has grown with that, watched our creation, | :01:27. | :01:32. | |
sliced while our history and spaces are blown to bits. From where I | :01:33. | :01:39. | |
stand in the UK, it is a shadowy area and I'm keen to cast light in | :01:40. | :02:00. | |
the form of art mind. Within every community there exists | :02:01. | :02:06. | |
a range of voices. We create what we become so we can change the choices. | :02:07. | :02:12. | |
That is the magic of art. It allows us to engage with the story. | :02:13. | :02:18. | |
Speaking of engaging with the story, meet ritual for it. -- Rachel for E. | :02:19. | :02:29. | |
I asked why she was writing, it is not supposed to be confidential? Who | :02:30. | :02:37. | |
will she showed to? She says she is happy to understand things. If I | :02:38. | :02:40. | |
want to try it I can write stuff down and we can discuss it. I | :02:41. | :02:45. | |
already understand things and if I want to discuss something I would | :02:46. | :02:49. | |
just say it. But I would bury my head in my diary is I was hurt, | :02:50. | :02:53. | |
confronted with this misguided 18-year-old. She kept going on about | :02:54. | :03:01. | |
it being my session and it is her job to listen. So I thought if I | :03:02. | :03:04. | |
have these weekly sessions I might as well speak my mind. If it is her | :03:05. | :03:11. | |
job. I had a show about a young girl from south London. Your writing her | :03:12. | :03:16. | |
perspective with both admiration and respect for what she sees. It was a | :03:17. | :03:24. | |
bit tongue in cheek, you see how she will be perceived. She has this | :03:25. | :03:27. | |
south London kind of stereotype that you sort of right. Her name is | :03:28. | :03:33. | |
candies but actually she is incredibly bright. I like the idea | :03:34. | :03:38. | |
of you hearing this attitude and accent and then she starts to save | :03:39. | :03:44. | |
the we agree with. Did you know black people are more likely to get | :03:45. | :03:48. | |
stopped and searched by police? And she says it is statistics like that | :03:49. | :03:54. | |
but make me do what I do. I did not ask you why you do your job. And you | :03:55. | :04:03. | |
doing this does not change the fact that we live in a world where an | :04:04. | :04:07. | |
armed police officer can shoot the young boy dead. We do not really | :04:08. | :04:13. | |
talk about this stuff. And if we do it is like, you have equal | :04:14. | :04:18. | |
opportunities now, what are you complaining about? I do not think | :04:19. | :04:26. | |
that kind of stuff, like you cannot say it is not PC. I think that | :04:27. | :04:33. | |
stands for politely condescending. Like you are coming and telling me I | :04:34. | :04:37. | |
need your help. Do you feel there is a responsibility of representation? | :04:38. | :04:42. | |
Initially I just wanted to express myself. To be a pioneer for the | :04:43. | :04:51. | |
representation of black women. It is important to convey the variations | :04:52. | :04:57. | |
within black women. When you turn on your TV or read a newspaper, they | :04:58. | :05:01. | |
always take certain boxes or act a certain way. I want to twist things | :05:02. | :05:07. | |
and play with stereotype. What does it mean for this thing called black | :05:08. | :05:11. | |
culture? Where does that story fit in. I'm not here to before black | :05:12. | :05:18. | |
culture to go this is a global responsibility. Gender equality, | :05:19. | :05:26. | |
racial equality, we all need to take responsibility. Not how we fix this | :05:27. | :05:32. | |
as black people. That is explored in the play and it is interesting how | :05:33. | :05:36. | |
it is received. For some this topic is illustrated through a preacher. | :05:37. | :05:44. | |
When she starts to speak people laugh. Everyone recognises this. I | :05:45. | :05:50. | |
get people to clap as if they were in church. Then there's topic of | :05:51. | :05:54. | |
them and us and how we fix this situation, I start to speak about | :05:55. | :06:00. | |
that. Wake up black people. I know nobody | :06:01. | :06:07. | |
going to preach this on a Sunday morning. But God has said you'll | :06:08. | :06:11. | |
wake up and start making excuses about how we have to work twice as | :06:12. | :06:19. | |
hard when the truth is we just will not see it. Open our eyes beyond the | :06:20. | :06:25. | |
physical, so it are sci-fi as individuals and start to focus. | :06:26. | :06:30. | |
Complaining how the Lord does not here are calls. Kudos. Do you feel | :06:31. | :06:37. | |
you started off as politically charged? Yes, politics came from my | :06:38. | :06:45. | |
own experience, people expected me to embody these stereotypes, how | :06:46. | :06:49. | |
women are perceived and the kind of woman you had to be to succeed. The | :06:50. | :06:53. | |
kind of things you had to do to be successful. I thought hold on, | :06:54. | :07:00. | |
switch this up a bit. Your mission initially was not to try to save | :07:01. | :07:03. | |
these people do not exist and that is just a figment of your | :07:04. | :07:07. | |
imagination, but to take some existing identities and add a bit | :07:08. | :07:13. | |
more colour and variation? Exactly. You said you recognise these women | :07:14. | :07:18. | |
and that is why we are laughing. We can relate to it. All we are | :07:19. | :07:24. | |
embarrassed because we have experienced something like that. And | :07:25. | :07:28. | |
sometimes you consent the audience question why they are liking that | :07:29. | :07:33. | |
character. Because I relate to you, or look down on you, it creates this | :07:34. | :07:37. | |
discomfort which is also interesting. It is opening dialogue | :07:38. | :07:41. | |
and people are talking about it. That is more likely to cause things | :07:42. | :07:45. | |
to happen and change. I know, I'm fully aware Obama is in | :07:46. | :07:53. | |
office. The dream come true. But the truth is black people, real change | :07:54. | :07:59. | |
starts with you. Be transformed by the renewing of your mind. That is | :08:00. | :08:04. | |
change of the divine kind. You leave that behind and you turn to him. | :08:05. | :08:11. | |
That makes all things new. Only the grace of God can really change you. | :08:12. | :08:20. | |
Now I'm saying white folk got to go together, it seems only a few blacks | :08:21. | :08:28. | |
have got to make the world better. Black is successful, why cannot | :08:29. | :08:37. | |
black and success befriends? You cannot go to school because you can | :08:38. | :08:40. | |
hustle for another dollar. Wake up. It is not the world was Iraq fault. | :08:41. | :08:47. | |
It is not the fault of that white guy who got the job. Wake up. -- not | :08:48. | :08:54. | |
the world's falls. Do you think there's a difference between racial | :08:55. | :08:59. | |
and gender politics, that you embody? For me racism always trump | :09:00. | :09:08. | |
sexism. And within the sexism it is always like, black women are... | :09:09. | :09:14. | |
Black men are strong and that women are sassy and a bit much and she | :09:15. | :09:20. | |
needs to calm down. I feel there is always constantly levels within | :09:21. | :09:28. | |
either inequality. Congratulations again. Talent has messed you up! | :09:29. | :09:56. | |
Culture provides a dialect, an antidote | :09:57. | :09:57. | |
An outlet for anyone denied respect. | :09:58. | :10:00. | |
The medium through which you and I connect. | :10:01. | :10:06. | |
From spoken aspirations to some commemorations, culture can | :10:07. | :10:09. | |
Not to see the barriers that we inherit, to see | :10:10. | :10:14. | |
First you make a sound, then you wait a while. | :10:15. | :10:21. | |
Then you get the kids trying to emulate your style, | :10:22. | :10:24. | |
England is a -based culture. Something is seminal as England is a | :10:25. | :11:20. | |
bitch penetrated consciousness. But your accent and methods were | :11:21. | :11:24. | |
uncompromising. How was it to be received at that time? At that time | :11:25. | :11:28. | |
we were trying to do something new with poetry. I was trying to use my | :11:29. | :11:34. | |
words at the time to articulate how we felt about our experiences living | :11:35. | :11:39. | |
and growing up, struggling in a racialised society. | :11:40. | :11:45. | |
The tension with the police in the 1970s and 1980s... It has not | :11:46. | :12:03. | |
stopped. We are the generation that continues to bear that. But at the | :12:04. | :12:08. | |
emergence of this cultural setting, how was it coming out and just | :12:09. | :12:13. | |
clearing space to the cultural in a way that wasn't able to your life? | :12:14. | :12:20. | |
Still fighting. You're talking a lot of stuff that should get you in | :12:21. | :12:28. | |
trouble. You made one poll about the SPG. I was vilified by certain | :12:29. | :12:32. | |
sections of the right-wing press. Which I took as an endorsement. But | :12:33. | :12:36. | |
I was doing the right thing and saying the right thing. | :12:37. | :12:44. | |
# Everywhere you go it's the talk of the day # | :12:45. | :12:52. | |
Everywhere you go you hear people say | :12:53. | :12:58. | |
# The special patrol our murderer. The demonstration against the | :12:59. | :13:01. | |
National Front degenerated into a running battle between the police | :13:02. | :13:07. | |
and demonstrators. I remember being sceptical when I came to the studio | :13:08. | :13:14. | |
with some of my stuff. There was one in particular, the SPG, you know who | :13:15. | :13:20. | |
you are dealing with with this guy? And he'd go, well, bass, tell you | :13:21. | :13:25. | |
what, you don't mind not putting my name on this record! | :13:26. | :13:35. | |
Their Peach, London teacher and father of two children was hit hard | :13:36. | :13:42. | |
on the head and died. The pathologist said he may have been | :13:43. | :13:46. | |
the victim of a Robert Koch. The police say the officers carry | :13:47. | :13:49. | |
standard truncheons and not rubber cosh is and according to the yard | :13:50. | :13:53. | |
the police inquiry into Peach's death is being pursued with vigour. | :13:54. | :14:04. | |
-- rubber cosh. I remember Linton saying to me I'm not contriving | :14:05. | :14:08. | |
anything, these are things happening around us and I'm just reporting on | :14:09. | :14:13. | |
it. And I was downward that. It was at the moment what was going on, | :14:14. | :14:17. | |
being recorded, so that future generations could hear the state of | :14:18. | :14:22. | |
it. # Is England becoming a fascist | :14:23. | :14:25. | |
state? # The answer lies in your own state | :14:26. | :14:31. | |
# And in the answer lies your own fate. # | :14:32. | :14:36. | |
Interestingly what is spoken about what is the Jamaican influence on | :14:37. | :14:40. | |
the punk movement, the skinhead movement. Do you feel any affinity | :14:41. | :14:46. | |
to that? Both music types were the music of the unemployed in the 1970s | :14:47. | :14:51. | |
and it was black and white working-class youth solidarity. | :14:52. | :14:57. | |
Expressed culturally. We have to be careful when talking about black | :14:58. | :15:01. | |
culture. What is black culture? Culture is not determined or defined | :15:02. | :15:05. | |
by pigmentation. Caribbean migrants have contributed to British popular | :15:06. | :15:10. | |
culture and it has become institutionalised. But the black | :15:11. | :15:14. | |
communities had to wage struggles after struggles after struggles | :15:15. | :15:17. | |
against the police and certain reactionary elements. Do you feel | :15:18. | :15:21. | |
like there has been some progress in the translation of these different | :15:22. | :15:25. | |
cultural moments meeting in the spaces we are creating? Even though | :15:26. | :15:31. | |
we had to resort to riots and insurrections and uprisings in order | :15:32. | :15:37. | |
to integrate ourselves into British society we have by and large done | :15:38. | :15:42. | |
so. And we are no longer on the periphery of British society. So, | :15:43. | :15:46. | |
yes, there has been progress. It should only get better but we will | :15:47. | :15:52. | |
wait to see. All right then, we will be looking forward to it and my | :15:53. | :15:57. | |
generation is indebted to you and eternally grateful for your | :15:58. | :16:00. | |
contribution. We are eternally grateful of the contribution of our | :16:01. | :16:05. | |
parents' generation because they laid a solid foundation for us for | :16:06. | :16:10. | |
stop I'm looking forward to your work, I'm sure you have much more in | :16:11. | :16:18. | |
new. -- I'm sure you have much more in you. | :16:19. | :16:21. | |
Every culture follows an invisible order and many exist | :16:22. | :16:24. | |
This one has been on an uncharted journey. | :16:25. | :16:29. | |
To all the latecomers, this one started early. | :16:30. | :16:31. | |
Diasporas have hand-picked their moments, unique to | :16:32. | :16:33. | |
And created many a hybrid form, like the one in which I perform. | :16:34. | :16:38. | |
But the concept of blackness is relatively new and it gets | :16:39. | :16:43. | |
It's a mix of ethnicities with separate histories, so black | :16:44. | :16:51. | |
Two and a half years ago I was sitting at Cambridge doing my | :16:52. | :17:06. | |
finals, and I had a question on my paper about culture. The question | :17:07. | :17:13. | |
was: What is black music. And I quoted one book heavily, and that | :17:14. | :17:23. | |
was The Black Cats And To. -- the black at Atlantic. I'd like to ask | :17:24. | :17:26. | |
you what the term black culture means? How long have you got? The | :17:27. | :17:33. | |
first thing we should say about black culture is it is a 20th | :17:34. | :17:38. | |
century invention, and even earlier it was something called Montenegro | :17:39. | :17:44. | |
culture and that was always in debate, in dispute. And before that | :17:45. | :17:51. | |
culture we can say it was African culture. That had to be jam-packed | :17:52. | :17:56. | |
as well. There were a range of different cultural forms that | :17:57. | :18:02. | |
matched the linguistic, cultural, religious anthropological | :18:03. | :18:03. | |
complexities of Africans as they became slaves, and were shifted by | :18:04. | :18:08. | |
force of violence across the Atlantic. Ultimately you see culture | :18:09. | :18:16. | |
as alive as its subjects. It is a thing that evolves, breathes, reacts | :18:17. | :18:22. | |
and adapts? Yes, races and doesn't see culture in the fluid developing | :18:23. | :18:27. | |
historic way. Races and six to pickle you and capture youth within | :18:28. | :18:31. | |
a particular specification of the culture that you are supposed to | :18:32. | :18:38. | |
inhabit. Is itself owned? To suggest it is self owned suggests it is a | :18:39. | :18:41. | |
kind of property, you either own it or you don't. My next question is, | :18:42. | :18:48. | |
is it not intellectual property? I don't think it is intellectual | :18:49. | :18:51. | |
property. It became intellectual property when people put it under | :18:52. | :18:56. | |
copyright. That caricatured commodified Armagh Hollywood form | :18:57. | :19:01. | |
arrives in our computers and headphones and that invites us to | :19:02. | :19:06. | |
join in and plays ourselves in what I would call a generic culture, a | :19:07. | :19:08. | |
generic black culture. There was a popularisation of | :19:09. | :19:26. | |
gangsta rap in the 90s. Having been a product of that exact marketing | :19:27. | :19:29. | |
and identifying with that experience much more than I would have | :19:30. | :19:34. | |
identified with the wider British experience, these things are | :19:35. | :19:38. | |
projected so powerfully. Sometimes the music isn't a load of car alarms | :19:39. | :19:42. | |
and shouting. Sometimes it is really compelling and exciting. | :19:43. | :19:43. | |
LAUGHTER Does that not feedback into a | :19:44. | :19:58. | |
cultural question about people's acquisition of information and how | :19:59. | :20:03. | |
people choose to go about building up their narratives of understanding | :20:04. | :20:07. | |
the world? Absolutely. But I still think there is something restrictive | :20:08. | :20:12. | |
about these portals and channels of flowing information, which end up, | :20:13. | :20:16. | |
or could end up in narrowing our understanding of the richness and | :20:17. | :20:19. | |
complexity of identity. I would rather that we could find a richer | :20:20. | :20:24. | |
and deeper sense of humanity. And culture? And culture. | :20:25. | :20:38. | |
What is the function of a cultural commodity? Is it intellectual | :20:39. | :20:45. | |
property? Or maybe an alternative to poverty. | :20:46. | :20:49. | |
When a community creates an economy, are its people renumerated properly | :20:50. | :20:52. | |
to build themselves and support themselves? | :20:53. | :20:53. | |
Or are they overcome by the corporate world? | :20:54. | :20:55. | |
# This isn't music # This is a sport # I | :20:56. | :21:34. | |
think I'm ready to retire # Something I say to young artists and | :21:35. | :21:38. | |
rappers, look at rap is one of writing. I wish somebody told the | :21:39. | :21:45. | |
bat when I was 20 and said you are a writer and rap is one form of | :21:46. | :21:49. | |
writing. Is wrap something that can take different forms, energy and | :21:50. | :21:52. | |
life force? Wrapping is writing, environments | :21:53. | :22:00. | |
Wairarapa-Bush from does not show us the intellectual roots it had in the | :22:01. | :22:05. | |
first place. By the time I got to university I felt like the cultural | :22:06. | :22:08. | |
imperialism I was battling with to be respected as a lyricist isn't | :22:09. | :22:12. | |
worth it and I might as well drop out of the music and deliver it more | :22:13. | :22:15. | |
conversationally and people received it as poetry. It is an intrinsic | :22:16. | :22:19. | |
issue people have with young kids from the hood, young black kids | :22:20. | :22:26. | |
calling themselves poets. Every convention they say makes rap not | :22:27. | :22:29. | |
poetry is a convention Shakespeare used. He wrote 154 sonnets and every | :22:30. | :22:34. | |
single one is set to a particular flow and remember either time you | :22:35. | :22:41. | |
get back to The Tempest, It Is Double-time. He was obviously a very | :22:42. | :22:50. | |
intelligent guy but so was Tupac. I'm second-generation, black | :22:51. | :22:55. | |
Caribbean, Scottish, I'm confused by the boxes, they just breed | :22:56. | :23:03. | |
confusion. It all seems like insanity. Why must I rob you of your | :23:04. | :23:07. | |
humanity to feel good? When I talk about rock music to | :23:08. | :23:10. | |
young black kids they say it is white people music. There were | :23:11. | :23:16. | |
African American musicians who inspired the Beatles, led Zeppelin, | :23:17. | :23:22. | |
Pink Floyd are named after two blues singers. We have cultural | :23:23. | :23:25. | |
appropriation, what's the difference between exchange and appropriation | :23:26. | :23:28. | |
question at exchange is I say I like the culture and I will borrow from | :23:29. | :23:31. | |
it but I will acknowledge the influence. | :23:32. | :23:38. | |
# To me that is cool, if urban means street that is called. What they | :23:39. | :23:45. | |
were listening to. How do we get to a stage where rock music is nothing | :23:46. | :23:48. | |
to do with black people and Jazz music is only in classical music | :23:49. | :23:51. | |
venues and there are four black people in the audience? Music is | :23:52. | :23:56. | |
still marketed on racial grounds. If you fall between the cracks as an | :23:57. | :24:01. | |
artist, or if you're not easy for all the music industry they don't | :24:02. | :24:04. | |
know where to put you. That is like their favourite statement, and what | :24:05. | :24:10. | |
they mean is you don't fall into the stereotypes of blackness but you are | :24:11. | :24:12. | |
also not white. For me the artist has a tremendous | :24:13. | :24:25. | |
role to play not just in black culture but every culture as an | :24:26. | :24:29. | |
alternative source of power. In the case of a world where racial | :24:30. | :24:32. | |
hierarchies aghast it's incumbent on the black artist to say these things | :24:33. | :24:37. | |
can be defeated like this, it is really political. But the powers | :24:38. | :24:41. | |
that be would like music to be apolitical, not just black music. | :24:42. | :24:46. | |
One thing I say to myself is you are political being black. | :24:47. | :24:52. | |
Whiteness is political too. Whiteness does not have to be | :24:53. | :24:54. | |
predicated. It doesn't have to be explained. | :24:55. | :24:58. | |
Everything else has to be explained but it just exists. | :24:59. | :25:02. | |
Blackness makes people uncomfortable. There is a bad | :25:03. | :25:04. | |
history, thinking about black-white relations. IBO asking if I'm a | :25:05. | :25:12. | |
racist, oh my god, I didn't own any slaves, all of these responses that | :25:13. | :25:18. | |
are more about the person's and paranoia. But the paranoia goes both | :25:19. | :25:26. | |
ways. My mum's family is Scottish and my dad's family is Jamaican and | :25:27. | :25:30. | |
I was waiting for racist abuse. But it didn't come. Even as a | :25:31. | :25:34. | |
ten-year-old I waited for somebody to say something, I was on guard, | :25:35. | :25:38. | |
saying where is the races and, when it is coming? And it didn't come and | :25:39. | :25:44. | |
it was like get over yourself. My Scottish family would have been more | :25:45. | :25:48. | |
bothered if he'd been English. They thought he is black, at least he's | :25:49. | :25:54. | |
not English full stop their issues with the English often override the | :25:55. | :26:02. | |
issues of people with colour. I want to be comfortable just making | :26:03. | :26:06. | |
money and not having anything to say about the world is. I'm one of the | :26:07. | :26:10. | |
lucky few that has been able to do both. That is black culture's gift | :26:11. | :26:14. | |
to the world. And what people come to reggae music for. Why people and | :26:15. | :26:22. | |
black people. It is that unique insight that only black people can | :26:23. | :26:25. | |
offer because only black people have had that specific racialised a | :26:26. | :26:32. | |
stratified class experience. Thank you very much. Any time. | :26:33. | :26:56. | |
The concept of blackness is relatively new. The tides of change | :26:57. | :27:02. | |
are rising quietly. We are in different times entirely. We've | :27:03. | :27:06. | |
already transformed the usual norms expected of chart-topping musical | :27:07. | :27:11. | |
forms and while our efforts have come to the fore there is a new | :27:12. | :27:14. | |
generation that hunger for more. They want to mature in the world of | :27:15. | :27:18. | |
business. It's the age of the young black entrepreneur. UC, black | :27:19. | :27:24. | |
culture is the umbrella term for works by people of African descent. | :27:25. | :27:29. | |
But maybe one day the term will mean an overarching pan African ascent. | :27:30. | :27:40. | |
To end my Artsnight here is my choice to play us out. | :27:41. | :27:46. | |
# Buffalo soldier # In the war for America # | :27:47. | :27:51. | |
As a child I used to listen to this song with my mum while she explained | :27:52. | :27:55. | |
the journey of many black diasporas. | :27:56. | :28:03. | |
# Buffalo soldier # Said he was a Buffalo soldier | :28:04. | :28:30. | |
# Win the war for America # Buffalo soldier # | :28:31. | :28:46. | |
Dreadlock rasta # Driven from the mainland | :28:47. | :29:09. | |
A slow start in the south-eastern corner of | :29:10. | :29:10. |