Chris Ofili - The Caged Bird's Song imagine...


Chris Ofili - The Caged Bird's Song

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Take this island like a dose of medicine

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To heal your centuries of wandering

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Find yourself here as if in a dream

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Emerging from the mists of afternoon thunderstorms

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Waterfalls pound your head into shape

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Let the sea beat your longing out of you

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But you sense spirits here

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Restless spirits to whom no priest or pundit bid farewell

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You have not forgotten them

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Like the names of your ancestors

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Strange names of disparate tongues from far-flung places

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Let this island medicine intoxicate you

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Let the liquor dance a spirit dance in your veins

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It is Paradise lost

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A paradise of loss

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This is where you come to find yourself

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This is where much has disappeared

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Into the forest, into the cane fields

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Among the lost things of this island, find yourself whole again.

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For over a decade the British artist Chris Ofili

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has made the Caribbean island of Trinidad his home.

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For me, one of the attractive things about Trinidad is

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it's still quite mysterious.

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I've been there for 12 years

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and it still feels like it's brand-new.

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Completely starting again

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and creatively

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wide open.

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From his explosive early works featuring riotous colours,

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collage and, infamously, elephant dung,

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Chris Ofili has always pushed the possibilities of painting.

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But his time in Trinidad has been a creative rebirth.

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There's so much of it and it's so powerful -

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the density of the forest...

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..the depth of the ocean...

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..the beauty on the surface...

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It's just a very kind of painterly island.

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One of my challenges, it feels,

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is to find a way to bring those elements together

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and for them to coexist

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but still be themselves,

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still have that character.

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His latest project attempts just this.

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It's a remarkable collaboration, a giant tapestry,

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almost three metres high and over seven metres wide,

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that is centrepiece of a new Ofili exhibition

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at the National Gallery in London.

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Created alongside a team of master weavers,

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it's taken nearly three years to complete.

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The result is a magical piece

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that weaves together the sights and sounds of Trinidad...

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..with nods to both the classical world and, unexpectedly,

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the Italian footballer Mario Balotelli.

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And he's called it The Caged Bird's Song.

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It brings to mind the idea of the question of sweetness of the song.

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BIRD SINGS

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Is the sweeter song the song of the uncaged bird

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or the song of the caged bird?

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And what that really is asking about liberation and constraint

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and how that could potentially relate to...

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..being human.

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The story begins four and a half thousand miles away from Trinidad...

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..in Edinburgh.

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This former Victorian swimming baths is home to Dovecot Studios,

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one of the world's leading creators of hand-woven tapestries.

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Back in 2013, the studio was approached by the Clothworkers,

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a London livery company with a rich textile history,

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who were looking to make a bold new commission.

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We were hoping for a contemporary, a modern, vibrant tapestry,

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and we were looking for an established,

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outstanding British artist.

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Dovecot came up with a short list, and then,

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when we found that Chris was very keen to experiment outside his usual

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field, to go in to tapestry, we were absolutely delighted.

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The Clothworkers wrote and asked if I would consider making a tapestry

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for their dining hall.

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Which, to me, at the time, seemed like a commission.

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Which is something that I would normally run away from

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because I felt that the fear is that they would want to have a say in

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what I produce.

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Which, I think...

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raised a level of anxiety that I didn't really want to take on.

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So I think I sent back a number of, like, questions

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and they were pretty much a list of things I wasn't going to do, like

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I didn't want to see where it was going to go,

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I didn't want to meet them.

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and I didn't want to have a conversation about content.

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That's rather brilliant!

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On every front, you just nixed them.

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Yeah, and they were like, "Yeah, that's no problem. No problem. No problem."

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Then I got more suspicious.

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I thought, no, now they've agreed to everything,

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that means that they've got something up their sleeve.

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The way that Chris works with colours really is fascinating,

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and we thought that would very much fulfil the bill.

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We wanted a Chris Ofili piece, we wanted him to be happy.

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At home in Trinidad, Ofili created a vibrant design for the tapestry -

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a triptych, painted - rather mischievously - in watercolour.

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I thought about watercolour,

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because the subject is pretty much about water and fluidity.

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And I also thought it would be funny to see if the weavers could actually

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weave... Water. ..water.

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So I found myself making a watercolour

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and trying to release the pigment even more,

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and almost giggling at the fact that it was almost impossible for them to

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achieve it.

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There's no way they're going to be able to do this.

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So... Let's just sit back and watch.

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But when I came with the watercolour

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and met them, they had a kind of solidity to them, and a confidence,

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a creative confidence, about their own process.

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Thankfully, they were really open to the challenge of it.

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And also open to the mystery

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as to whether or not they could achieve it.

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For the weavers, it was a major undertaking.

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To create a tapestry of this size

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and complexity would take years of their lives.

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An investment of thousands of hours.

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Haven't you chosen something quite challenging?

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Because watercolours must be incredibly difficult to weave and to

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do as tapestries. Yes, I agree.

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The watercolour is, like, multi-layered, so you're often

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looking at the colours underneath to come up through, as well.

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Rather than just a block of colour.

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So mixing is very important.

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They want... They did a colour strip, wove it in front of me,

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and they started to put together threads to make that turquoise fizz

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in front of my eyes, when you look at it as a solid colour.

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And I realised that was completely different to my understanding of it.

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And so I felt as though I could just let go and float with this process.

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These are the bobbins that we use for weaving with.

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If you're wanting to weave something that looks all the same colour,

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but you don't want it to look flat like cardboard,

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you would make a mix with very close colours,

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and then it would just gently look like the same colour.

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If you twist it like that,

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you get more of an idea of what it's going to weave up like.

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So these are more subtle, different variations of these colours.

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I can see these... That's right, yes.

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I think we lifted the colour from the original image.

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But there's almost no pure colour in here, is there?

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It's all a mix... It's all a mix, yes. ..which watercolour is, really.

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Absolutely. Making those mixtures means that we can get the subtlety

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and the richness. But it also means that we can blend one colour

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into another to get that... This watercolour effect.

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Watercolour and wool are such completely different materials. Yes!

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He's a master colourist, Chris Ofili, so,

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he wanted to challenge them by using a watercolour pigment,

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which is the most free-flowing of the pigments,

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and so you get this wonderful paradox between this spontaneous,

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very free-flowing artist's medium,

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which then becomes this permanent fixed three-dimensional object

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of a tapestry.

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There is that great variation in the watercolours themselves, very lush,

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and then almost non-colour and the use of charcoal.

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I call them midweek colours.

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Midweek colours? Yeah, midweek colours, and the weekend colours are

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the popping colours that you get around.

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On the right-hand side, you've got the male figure carrying a bird cage.

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And he's drawn in charcoal and his clothing is turquoise.

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I remember putting the turquoise down and the colour just suddenly

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started to bleed really quickly.

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I remember thinking, "Oh, no! I've screwed it up!"

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Right? It's out of control.

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And then, I just thought, this is kind of hilarious.

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That they are now going to capture that moment,

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and I still see it when I look at it.

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You're a bit of a sadist, aren't you?

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No! No! I think it was just to see if...

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It was a way of trying to have a dialogue, really.

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So, what of the actual narrative within Ofili's tapestry design?

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Both the glowing colour palette and much of its imagery draws

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inspiration from his adopted island home of Trinidad.

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Including that of the caged bird.

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I could go into full investigation

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and try and get to the bottom of the caged-bird phenomenon.

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But I like...

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I like to almost observe it from a distance.

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You could be running around the Savanna,

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and somebody would come towards you, walking,

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and they're carrying a little bird in a cage.

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Then you can go to these competitions, which is like

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a kind of orchestra of little birds in cages, singing, you know.

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In the mornings in Trinidad, there's incredible birdsong.

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BIRDSONG

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Keeping songbirds is a surprisingly macho subculture on the island.

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The birds are fed a local seed grass, known as crab eye,

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to help them perform to the best of their abilities.

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I grew up here and my grandfather used to mine then, my father,

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and now I have them. I inherit some of them even from my grandfather.

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These birds live long.

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These birds live up to 30, 35 years.

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Human years.

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In a cage.

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The notes of the birds singing is just pleasing to my ear.

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When I listen to my birds, I have to play music, I like that song.

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It's...

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We just love the birds.

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It's all about the birds.

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I haven't, to this day, got myself my own caged bird.

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But every time I go to somebody's home and I see one there on the porch,

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I do think it's a beautiful thing to be able to have around.

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Some of the songs of these caged birds are just...

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..divine. Really, really divine.

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So sweet.

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And they really just kind of captivate you and throw you

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into another kind of world, really.

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MUSIC: You're Goin' Miss Your Candyman by Terry Callier

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Chris, he appreciates what we have here.

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This place is just such a rich bed for anyone who wants to study

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culture and people

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and the various nuances associated with such, you know?

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Especially those who have a particular creative energy.

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I think it's very...

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..very inspiring. Very inspiring.

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The natural world has been a huge source of delight for him,

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and you really see this in the works that he made since he moved to Trinidad.

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There's a tropical world, the colours are more vivid.

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The birds sing more loudly.

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You know, the sun shines more brightly.

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He's not the only artist to have moved to that kind of

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island paradise in the past.

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And I think it's inevitable that what you see around you becomes...

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becomes part of the landscape, becomes part of your repertoire.

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One of the interesting things about

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a great artist is that they often make a story their own.

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And you can see Chris doing that.

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You know, what you're looking at, really, in the tapestry,

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is what could be seen as a curtain being pulled back for a brief moment.

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And what's happening behind the curtain.

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And then when the curtain closes again,

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the man holding the caged bird, the lady holding the bird seed

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continue back on their journey.

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But just to try to understand the journey you went on, this is,

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in the end, one image, but you went through

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lots and lots of different stages.

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You didn't just arrive at that idea.

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There was a point at which I was quite clear on what the image was

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going to be. But I wanted to be able to render it with ease.

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And so, in order to do that, you kind of have to go through a few

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different iterations, really, of the same thing.

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To see what happens when a curve moves left instead of right,

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or a stroke is done from the bottom up, or the top down.

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And it's just to see which flows better.

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The fluidity is also part of the process of making,

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not only just the image itself.

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The sense of flow and the presence of water is everywhere in Ofili's

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early designs for the piece.

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A couple sit by a waterfall with a river swirling around them.

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The man is busy serenading, while the woman sips a cocktail.

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And the cocktail is being poured by a strange, abstracted figure,

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based on an image of the Italian footballer Mario Balotelli in tears.

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So, Chris, where does it all begin with Mario?

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Um... I was interested in the fact that maybe the tears,

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his tears, could become part of the cocktail. Ah!

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Yeah, that there's this kind of deep underlying sadness to him

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that's being transferred into this potion, or drink.

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But, in this case, I wanted to really collage the image that I was

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working from, staple it on.

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For it to be there, still in its raw state.

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And later, it became these drawings.

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This watercolour, as well.

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Using Mario Balotelli as a muse

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connects various threads in Ofili's own story.

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Born and raised in Manchester to Nigerian parents,

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Chris's explorations of race and Afro identity -

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both playful and serious -

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have always been a distinctive feature of his work.

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In 1998,

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he won the Turner Prize for paintings

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that included a poignant depiction of Doreen Lawrence,

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grieving her son Stephen's brutal murder.

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For me, it's about trying to make a painting about tremendous loss.

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I mean, I focused on the image that was strongest to me,

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which was of Doreen, his mother, crying.

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And that just seemed like such a powerful image.

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When I finished the painting it felt like that raw emotion, that sorrow,

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it felt like that was actually in the room.

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As for Balotelli, the son of Ghanaian immigrants to Sicily,

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he was later fostered by an Italian family.

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But his footballing gifts are often overshadowed by his own volatile

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reputation, and racism within the game.

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I'm a Manchester United supporter.

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He played for Man City.

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So...I can't, in my heart, say that I think he's a wonderful footballer.

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Because he's wearing the wrong-colour shirt.

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But I think there are other qualities to him

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that are outside of his abilities as a sportsman.

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Qualities that seem much more mythical.

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I think, you know, the fact that he's a black African Italian.

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He is...

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..complex. He is mischievous,

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but also tortured.

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He symbolises the way race plays a part, still, in sport.

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I think he's a maverick, in a way that you don't often get.

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I've worked with images of him before,

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and this is another one, I'm still trying to figure it out.

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It's not... It's not fixed.

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And I think, with him, it's also not fixed.

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So I've cast him in this sense, as a...

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..cocktail waiter.

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Which you've done... You've done a bit of cocktail...

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Yeah, I've done that, too.

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Yeah. I like that idea of almost being in disguise, really.

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But you're also able to take on another personality

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or another persona.

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Is that because when you were doing it you were trying

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to kind of get a glimpse of the world as it was,

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and so you were out there...?

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See it differently, yeah. To try and see things differently momentarily.

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And not be yourself.

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And to play the part thoroughly.

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You get to see something else.

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You know. There are, you know...

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Let's just say there are great cocktail waiters in the world.

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There must be something other than just mixing drinks.

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You might get to see people...

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..differently.

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Adopting masks and alternative personas

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has deep cultural roots in Trinidad.

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Much of the island's multicultural population is the colonial legacy.

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Generations of African slaves and indentured Indian labourers

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toiled on its sugar and cocoa plantations.

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When we think about the Amerindians who lived here...

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..that this place was based...

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..and constructed, if you want, on their slaughter.

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You know, an African enslavement.

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Indian indenture.

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And these are things which

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we have to look at,

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to see where we go from there.

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Trinidad's annual carnival is a visceral celebration

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that emerged from slave rebellion.

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When rebellion is put down, as most of them have been...

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..the ideas that people

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revolt on behalf of, or against, do not disappear.

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The people's attitude to these things also doesn't disappear.

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Right? What happens is that this moves into the culture.

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And that is why art and culture functions in

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such subversive ways in a kind of way,

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because you're looking for them to frontally to be saying one thing,

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and then they are saying something else, you know?

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It's a very interesting thing about our Carnival, we have, like,

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this whole pantheon of devils.

0:25:370:25:39

In our mythology we have so many shape shifters.

0:25:400:25:44

You know, there are so many characters that change perspective,

0:25:440:25:48

and change their outward appearance

0:25:480:25:50

to achieve certain things.

0:25:500:25:52

When you put on a costume, especially a blue devil,

0:25:570:26:00

you become uninhibited.

0:26:000:26:02

You know what I mean? Your energy is raw.

0:26:020:26:05

It's raw. You kind of cast away your inhibitions.

0:26:050:26:09

And as we say in Trinidad, you are free of yourself.

0:26:090:26:12

It's flowing, and it's free.

0:26:120:26:14

I don't know, maybe that's part of what Chris

0:26:140:26:17

experiences here. A certain level of freedom.

0:26:170:26:20

The thing about Chris is that he... He disappears in a place like this.

0:26:370:26:42

He doesn't stand out, in that sense.

0:26:430:26:45

His blackness includes him in the society,

0:26:460:26:49

in a way that if he was a white artist, he would not.

0:26:490:26:52

His otherness is different here than it would be in England.

0:26:550:26:59

For somebody who is a transplant from somewhere else,

0:27:010:27:06

but a transplant from somewhere else that he doesn't know at all,

0:27:060:27:10

there is a kind of...

0:27:100:27:11

..familiarity about the place.

0:27:130:27:14

The mythology, the history,

0:27:190:27:22

the fact that Trinidad's full of people with different histories,

0:27:220:27:27

did you just somehow absorb that and then sort of

0:27:270:27:30

filter it into your story?

0:27:300:27:33

I think it's an ongoing process.

0:27:330:27:36

I mean, I think, for me,

0:27:360:27:38

one of the attractive things about Trinidad is that it's still quite

0:27:380:27:41

mysterious. And you think you are going in one direction,

0:27:410:27:46

and you realise you're actually not going in that direction.

0:27:460:27:48

If anything, it's kind of kept things open.

0:27:480:27:52

And allowed...

0:27:520:27:54

..it to feel... To still feel like life is still being collaged

0:27:560:28:01

together as I go along.

0:28:010:28:03

Meanwhile, bringing Ofili's watercolour design to life

0:28:070:28:11

remains a daunting task for the weavers.

0:28:110:28:14

And yet, the whole art of tapestry-making

0:28:150:28:18

is incredibly exacting, and labour-intensive.

0:28:180:28:21

For centuries, tapestries were cherished for these very reasons.

0:28:240:28:28

They were to the north of Europe what fresco was to the south.

0:28:290:28:33

Vast projections of power, wealth and sophistication.

0:28:340:28:38

Henry VIII's personal collection

0:28:410:28:44

would have stretched three miles if laid end to end.

0:28:440:28:47

But the intricate processes involved in creating tapestry have changed

0:28:490:28:53

very little over the years.

0:28:530:28:54

Everything has to be made from scratch,

0:28:560:28:58

and Ofili's original watercolours dramatically scaled up.

0:28:580:29:03

One of the reasons we were really

0:29:030:29:04

looking forward to working with Chris

0:29:040:29:06

after his work doing some set designs of backdrops for a ballet,

0:29:060:29:12

we thought that he can imagine his work on that sort of scale.

0:29:120:29:15

And so we knew that they would work well.

0:29:170:29:20

That's your photocopy, is it?

0:29:200:29:21

That's a photocopy, yes.

0:29:210:29:23

You can see at the bottom it says, "Please enlarge by 877%."

0:29:230:29:27

So from that we get a line drawing that we call the cartoon -

0:29:280:29:32

so you can see these lines here -

0:29:320:29:34

which is quite a laborious process.

0:29:340:29:36

Is it? Why is that?

0:29:360:29:38

Each mark has to be made not just on the front of

0:29:380:29:42

the warp thread but also all the way round.

0:29:420:29:45

Wow. I can see what you mean.

0:29:450:29:47

So this could take weeks!

0:29:470:29:48

And we're looking at the lines that are actually on the warps.

0:29:520:29:55

We are constantly referring back to the image with the small cartoon

0:29:550:29:59

sitting over the top. Already from this conversation,

0:29:590:30:02

I can see how exhausting this must be.

0:30:020:30:05

You've got to work systematically through the image.

0:30:050:30:10

At the back of the tapestry here,

0:30:120:30:14

you can see as the tapestry is woven,

0:30:140:30:16

it's rolled down onto this bottom roller.

0:30:160:30:19

So these are sections which have already been woven.

0:30:190:30:23

Oh, that's beautiful.

0:30:230:30:24

Then, once it's rolled down,

0:30:260:30:28

we won't see that again until the tapestry is cut off the loom.

0:30:280:30:32

Over the 2? years that we've been talking and working

0:30:460:30:49

together, what I've observed is that they weave their lives and

0:30:490:30:54

their souls into the work,

0:30:540:30:57

so it's not something that you can just sit around knitting,

0:30:570:31:01

chewing gum and watching daytime TV at the same time.

0:31:010:31:04

You really have to be engaged fully, but also in some ways...

0:31:040:31:09

..quite detached, you know.

0:31:100:31:13

Because you can't...

0:31:130:31:14

I mean, when they're doing it, they're doing it...

0:31:140:31:16

..an inch at a time, or whatever it is that they are able to do it.

0:31:170:31:21

Yeah. It's millions of decisions.

0:31:210:31:22

I know, and yet, you can't see the whole, so the emotional engagement...

0:31:220:31:26

Yeah. ..which goes into it and which you can see in the result...

0:31:260:31:29

Yeah, yeah. ..is all the more surprising.

0:31:290:31:32

Yeah, because there were passages in there where they may be in a kind of

0:31:340:31:38

meditation on greys and greens for three weeks

0:31:380:31:42

and then it shifts all of a sudden to a violet or a turquoise

0:31:420:31:47

and I know that at those moments,

0:31:470:31:50

they're almost like kind of woken from reverie or a dream and, like,

0:31:500:31:56

you know - is this too much?

0:31:560:31:58

You know, is the shift too drastic?

0:31:580:32:00

What happened?

0:32:000:32:01

And I think that comes out of not being able to see the image.

0:32:010:32:05

It's just suddenly, there's a kind of jarring.

0:32:050:32:09

At the centre of this is this sort of magician figure.

0:32:090:32:12

It's something very playful about it but also very mysterious.

0:32:120:32:15

You don't know quite, that pouring of a cocktail,

0:32:150:32:18

you don't know where it's going to go. It's green, yeah.

0:32:180:32:21

It's a green cocktail.

0:32:210:32:22

It's unknown if it's poison or if it's enhancing.

0:32:220:32:28

It's falling, as well,

0:32:280:32:30

so she's unaware that it's falling into the glass.

0:32:300:32:33

She's listening to the music.

0:32:350:32:37

Yeah. Yeah. She's listening to music.

0:32:370:32:39

The guy's playing some beautiful music by the waterfall.

0:32:390:32:42

And she's drinking a cocktail.

0:32:420:32:44

I like the idea that in the foreground,

0:32:450:32:47

you can almost feel the spray from the waterfall on their faces. Yeah.

0:32:470:32:53

When you get a bubbly cocktail,

0:32:570:32:59

you get the bubbles that go on your face,

0:32:590:33:01

just as you drink the first sip.

0:33:010:33:03

It's a wonderful moment of a couple in their own joyous world.

0:33:030:33:11

It's a tropical Adam and Eve on an island paradise,

0:33:140:33:17

so it's a kind of vision of Arcadia.

0:33:170:33:20

It's a vision of paradise, but a temporary...

0:33:200:33:24

It's a temporary state and it's as though there's a darkening to come.

0:33:240:33:27

When you see Arcadian visions

0:33:290:33:32

in paintings of the past,

0:33:320:33:34

whether by Cezanne or going all the way back to Titian,

0:33:340:33:37

often it's a vision which is somehow threatened.

0:33:370:33:41

There is something on the horizon which suggests it is changing,

0:33:440:33:49

something is about to happen, something is about to take place.

0:33:490:33:52

They're exposed. The curtain's been pulled back

0:33:520:33:55

and they're not aware and also,

0:33:550:33:57

there's something being added to the mix.

0:33:570:34:00

But also in the distance,

0:34:040:34:06

there's this brooding storm that's approaching.

0:34:060:34:08

THUNDER RUMBLES

0:34:110:34:13

Trinidad is a land of extremes.

0:34:160:34:19

You know, extreme beauty,

0:34:190:34:22

but we also have an extreme ugliness, too.

0:34:220:34:26

We have a current situation that we need to address.

0:34:260:34:29

I work for the government

0:34:320:34:34

and primarily, it's a programme that, you know, does social outreach

0:34:340:34:39

and community organising within high-needs communities

0:34:390:34:44

and get them to address the risk factors that,

0:34:440:34:49

you know, that contribute to the crime and violence within

0:34:490:34:52

the communities, with the aim of obviously reducing it and preventing

0:34:520:34:55

it as much as we can.

0:34:550:34:57

It's a kind of paradise that is not without problems.

0:35:030:35:08

It is riddled with problems but, for me, that makes it -

0:35:080:35:12

dare I say? - more attractive,

0:35:120:35:15

because you're looking at the kind of reality.

0:35:150:35:17

It's not hidden away.

0:35:170:35:19

It's truth.

0:35:190:35:20

At times, it's almost too true, you know - newspaper photography

0:35:230:35:29

really spells out what happened when that person was murdered.

0:35:290:35:33

You could be sat looking at the most beautiful rolling hills in

0:35:330:35:35

the background as the same time as looking at, you know,

0:35:350:35:38

the daily news, which is harrowing at times.

0:35:380:35:40

# Me and the devil

0:35:420:35:43

# Walking side by side

0:35:460:35:49

# Me and the devil

0:35:530:35:55

# Walking side by side. #

0:35:580:36:00

I think it is a place of extremes.

0:36:080:36:10

In some ways, it seems very industrial.

0:36:100:36:12

There is oil and natural gas and the processing of, so you get...

0:36:120:36:17

You feel as though you're not in a tropical island,

0:36:170:36:19

you're actually in an industrial island and then, within 20 minutes,

0:36:190:36:25

you can be in a forest

0:36:250:36:28

and have no feeling of that whatsoever.

0:36:280:36:31

And shortly after,

0:36:310:36:32

you can be right on the coast line and be, like, experiencing your own

0:36:320:36:37

fragility and feeling terrified,

0:36:370:36:39

in the waves and seeing, like, you know,

0:36:390:36:42

the force of swells and see the way light has an effect on the movement

0:36:420:36:48

of water and it can be very, very beautiful but very raw.

0:36:480:36:52

I mean, Chris is a guy, you know, since I've met him, really and

0:36:550:36:59

truly, he loves the sea, the river, the waterfalls,

0:36:590:37:05

you know, going into the bush, he has his hunting dogs.

0:37:050:37:08

He doesn't necessarily hunt, but he has hunting dogs that he takes into

0:37:080:37:11

the tracks and stuff quite regularly, you know.

0:37:110:37:15

And he goes, he'll go by himself with his dogs, you know,

0:37:150:37:18

so it's not even to say it's a social thing.

0:37:180:37:22

It's just to reconnect and stay connected to that source.

0:37:220:37:26

He most probably knows the island better than a lot of locals,

0:37:260:37:30

to be quite honest.

0:37:300:37:32

You don't see colours like this anywhere else.

0:37:370:37:41

As far as I know, Chris actually works with

0:37:410:37:44

those people who make paint, to get the specific colour, you know.

0:37:440:37:49

You know,

0:38:000:38:01

he's very nerdy about things like that, you know, it's like...

0:38:010:38:04

It's like, "Yeah, yeah, just got this, like this

0:38:040:38:08

"really specific blue."

0:38:080:38:10

You know, it's, "Yeah, cool, OK!"

0:38:100:38:13

Yeah.

0:38:150:38:16

The landscape deserves that attention,

0:38:190:38:21

so they're well suited to each other, Chris and the landscape.

0:38:210:38:24

# Can you feel a little love?

0:38:350:38:39

# Can you feel a little love? #

0:38:420:38:46

Places that I've gone to, like various waterfalls,

0:38:500:38:53

it serves me best to visit and revisit and revisit and revisit,

0:38:530:38:57

whereas I think in other instances,

0:38:570:39:01

you feel as though you can get it the first time.

0:39:010:39:03

# Oh, shame upon the universe It knows its lines... #

0:39:030:39:06

Maybe a bit like a waterfall,

0:39:060:39:08

this kind of never-ending process that it never quite is the same.

0:39:080:39:12

And maybe what I'm really talking about is the power of nature,

0:39:160:39:19

rather than just us as human beings.

0:39:190:39:22

# You party for a living

0:39:220:39:24

# What you take won't kill you

0:39:240:39:25

# But careful what you're giving... #

0:39:250:39:28

This hunting, this is part of what you're doing.

0:39:280:39:31

You're looking, you're seeing.

0:39:310:39:33

Yeah. Your mood is changing.

0:39:330:39:35

You're seeing things from a different perspective all the time.

0:39:350:39:38

Yeah, yeah. It's conscious, yeah.

0:39:380:39:39

I'm consciously going to

0:39:390:39:42

be inspired by something.

0:39:420:39:44

# Dream on, dream on... #

0:39:470:39:50

For me, one of the very intriguing and beguiling things about him as an

0:39:550:40:00

artist is his willingness to take his painting into other areas and to

0:40:000:40:06

adapt his style to meet different needs and different requirements.

0:40:060:40:11

Many of the artists who hang on the walls of the National Gallery -

0:40:120:40:17

Goya, Rubens, Bronzino, Pisanello - many,

0:40:170:40:21

many of these artists have in the past designed for tapestry,

0:40:210:40:25

and so by placing Chris Ofili in this context,

0:40:250:40:29

he becomes part of the tapestry tradition.

0:40:290:40:32

This wonderful tradition

0:40:330:40:35

that has been going on for centuries.

0:40:350:40:38

It's taken 29 months,

0:40:410:40:43

over 6,000 hours of endeavour and 35 kilos of wool,

0:40:430:40:48

but the weavers' work

0:40:480:40:50

is done.

0:40:500:40:51

Their final act, weaving their initials

0:40:530:40:56

alongside Chris's into the fabric of the tapestry.

0:40:560:41:00

All that remains is for the last section to be freed from the loom in

0:41:020:41:06

a traditional ceremony called the cutting off.

0:41:060:41:09

This phrase - the cutting off - today is the cutting off -

0:41:110:41:14

it's a startling phrase anyway, but what's it mean?

0:41:140:41:18

I guess

0:41:180:41:20

the thought is that it's quite final and after that,

0:41:200:41:24

there's very little you can do to change the outcome and all of our

0:41:240:41:27

efforts have already happened.

0:41:270:41:29

There's a sense of relief as well sometimes that that's it finished.

0:41:290:41:34

Yeah. And it is what it is now.

0:41:340:41:36

And how are you feeling about Chris Ofili turning up today?

0:41:360:41:39

Maybe slightly nervous, but...

0:41:400:41:42

I think his incredible positivity about what we're doing and the way

0:41:430:41:48

we've done it and... It reaffirms that we're translating his image in

0:41:480:41:53

a way that he's really pleased with.

0:41:530:41:55

What's your life going to be like without this?

0:41:550:41:58

I don't know, cos it's etched so deeply in there now.

0:41:580:42:01

Good to see you.

0:42:060:42:08

Yeah, yeah. Yeah.

0:42:080:42:09

Exciting moment. Absolutely.

0:42:090:42:11

Thanks, first, Chris, to you.

0:42:160:42:19

I wonder whether I might just paraphrase and I don't know whether

0:42:190:42:22

I'll get this right, but it was a Herman Hesse quote -

0:42:220:42:25

"In new beginnings dwells a magic force."

0:42:250:42:29

And I think we really sensed that there was a magic force, Chris,

0:42:290:42:34

the first day that you came to this studio

0:42:340:42:37

and took time to talk with the weaving team,

0:42:370:42:40

to talk tapestry and to explore ideas,

0:42:400:42:43

and so that magic force seems to have gone on through the three years

0:42:430:42:48

of this project. And so how appropriate, of course,

0:42:480:42:51

that the exhibition in the National Gallery

0:42:510:42:53

should be called Weaving Magic.

0:42:530:42:55

That's it.

0:43:000:43:01

Like it, nice confidence.

0:43:130:43:15

Yeah, let's get this over with.

0:43:150:43:16

CHEERING AND APPLAUSE

0:43:160:43:18

Today will be the very first time anyone has seen the final panel.

0:43:350:43:39

Here.

0:43:450:43:46

You do that, cut the last one. This last bit? Yeah.

0:43:460:43:50

APPLAUSE

0:43:550:43:56

And all three sections of the finished tapestry

0:44:340:44:37

can now be revealed as one unified work of art.

0:44:370:44:41

CHEERING AND APPLAUSE

0:44:430:44:45

When you saw it today...

0:44:520:44:53

Mm.

0:44:530:44:55

..what impact did it have on you?

0:44:550:44:56

What did you make of it?

0:44:560:44:58

Spellbinding was a word that came to mind.

0:44:580:45:01

There is a kind of magic in it, really.

0:45:010:45:04

I know how it's been made and I understand it, but still,

0:45:040:45:09

you know, still, you're looking at it, you're like, hang on a minute.

0:45:090:45:13

That's a pool of pigment that's been rendered in...

0:45:140:45:19

in wool. But it's still a pool of pigment.

0:45:190:45:22

They still managed to maintain those qualities.

0:45:220:45:24

One of the astonishing things about seeing

0:45:410:45:44

a contemporary tapestry is

0:45:440:45:46

its colour, because historic tapestries, they fade, they're very,

0:45:460:45:50

very susceptible to the effects of light, particularly blue colours,

0:45:500:45:53

so it's very unusual to see a historic tapestry with any blue in

0:45:530:45:59

it and Chris Ofili's tapestry is full of blue,

0:45:590:46:01

so I think that the colour will amaze people.

0:46:010:46:06

The depth of colour - and I don't think anyone had any idea

0:46:060:46:09

of the pinks, the kind of rose-tinted yellows

0:46:090:46:13

that suddenly came out in that third panel.

0:46:130:46:16

I mean, the story of making this tapestry is the story of many,

0:46:210:46:25

many people's hard work.

0:46:250:46:27

It is extraordinary to see an object that has taken almost three years to

0:46:290:46:35

make, five people,

0:46:350:46:37

often three of them sitting at the loom at the same time.

0:46:370:46:42

It's that collaborative,

0:46:420:46:44

collective act and it's the quality of human time which I think is

0:46:440:46:49

embedded into the tapestry

0:46:490:46:52

and I think is one of the reasons why it is

0:46:520:46:55

such an alluring object to look at.

0:46:550:46:57

For his National Gallery exhibition, Chris Ofili, the master conjuror,

0:47:070:47:12

has one final flourish up his sleeve.

0:47:120:47:14

In a complete transformation of the gallery's Sunley Room,

0:47:170:47:21

he's worked with scenic painters from the Royal Opera House

0:47:210:47:24

to adorn every inch of wall space

0:47:240:47:26

with a towering frieze of androgynous dancing figures.

0:47:260:47:31

When I decided that I was going to paint the room with this imagery,

0:47:340:47:38

I still never knew how it was going to relate to the colour decisions

0:47:380:47:45

that we made in the tapestry and, in a way, that excited me,

0:47:450:47:49

because I was really anxious to know if that was going to work.

0:47:490:47:53

The only thing missing is the tapestry itself.

0:47:560:47:59

To mark the occasion,

0:48:000:48:02

Chris has brought his kids along for the install.

0:48:020:48:04

He's a very good decision-maker.

0:48:330:48:35

He holds back but he knows when he needs to make a decision and he

0:48:350:48:41

always makes a good one.

0:48:410:48:43

Where was it... Yeah, do you want to put it there, then?

0:48:430:48:46

Let's just lower it. Let's just see the hands. Just lower your side.

0:49:000:49:03

Oh, right.

0:49:040:49:06

Is it heavy? It's fine. Yeah? Yeah.

0:49:090:49:12

Hanging giant tapestries, though, is harder than it looks.

0:49:170:49:21

Yeah. Are you happy?

0:49:260:49:29

Yeah, thank you. That's brilliant.

0:49:290:49:30

BIRDSONG AND MUSIC

0:49:480:49:50

So how does it feel, Chris?

0:50:200:50:21

Every time I come in, I'm still a bit, like,

0:50:220:50:26

"Wow! What's going on here?" Still trying to figure it out.

0:50:260:50:30

I enjoy the grisaille of the walls and then this popping out of colour.

0:50:300:50:35

The whole room and the images contained within the room

0:50:370:50:40

feel like a dream state.

0:50:400:50:41

I must say, it's hallucinogenic.

0:50:460:50:48

Yes, it is, yes.

0:50:480:50:50

It is. I could end up being a little unstable.

0:50:500:50:53

Yeah, yeah, yeah.

0:50:530:50:55

Yeah, you step back, you know...

0:50:550:50:56

Whoa, it's a lot!

0:50:560:50:59

What are you expecting, what are you hoping for from the public

0:51:090:51:12

when they actually come and see this for the first time?

0:51:120:51:15

I hope in some ways that the people visiting

0:51:150:51:19

can almost approach this in a similar way that the weavers did,

0:51:190:51:25

that they can find an opportunity in being in this room,

0:51:250:51:29

to immerse themselves somehow in the work.

0:51:290:51:33

WOMAN: My first feeling was, "Wow!"

0:51:360:51:38

The colours are just amazing.

0:51:400:51:41

I love the feel of it.

0:51:430:51:44

MAN: It's just a really sort of stunning but subtle effect.

0:51:470:51:50

I don't know how they did it.

0:51:510:51:52

And what's this mysterious liquid, flowing into her cocktail glass?

0:51:540:52:01

MAN: It looks like he's flowing.

0:52:030:52:05

There's no end to it, really.

0:52:050:52:07

It could go on and on and on.

0:52:070:52:08

Just couldn't actually believe that it was a tapestry.

0:52:150:52:18

The bleed, across in the greens and the purples,

0:52:190:52:23

it just takes your breath away, really.

0:52:230:52:25

I mean, the main feeling that I wanted in coming into the room

0:52:270:52:32

was to give it a kind of temple quality,

0:52:320:52:36

that you are walking into a room that is depicting something that is

0:52:360:52:42

not necessarily of this time and place,

0:52:420:52:44

and that it's a place of worship in some ways,

0:52:440:52:48

but a place of joy and repose in other ways,

0:52:480:52:53

and that the tapestry is the main feature in the room,

0:52:530:52:58

but also is part of this narrative.

0:52:580:53:01

But it's important for me that it's not fixed,

0:53:010:53:03

that somehow the story's got lost in time and that we can bring our own

0:53:030:53:09

meanings to it, a bit like when you

0:53:090:53:11

go and visit ancient spaces elsewhere,

0:53:110:53:13

that you can understand it in terms of its power and what the meaning it

0:53:130:53:17

may have had in the past, but it's not so clear what that is now.

0:53:170:53:22

WOMAN: From afar, you can see all the colours but when you get close,

0:53:380:53:41

you can almost feel the movement of the tapestry,

0:53:410:53:44

you can see the expressions on the people's faces and it's just really

0:53:440:53:48

nice to be able to look and almost, like, wonder what they're thinking.

0:53:480:53:53

No matter how close you get to it, it's still... It's still a mystery.

0:53:580:54:02

Every one of these lines

0:54:020:54:05

is different. Yeah. Because these lines are charcoal and then these,

0:54:050:54:09

these areas here,

0:54:090:54:10

all like little flecks of charcoal

0:54:100:54:12

that's floating in the watercolour and then settle.

0:54:120:54:15

Some of the things for me that are arbitrary, for them

0:54:150:54:18

have to be absolutely deliberate

0:54:180:54:20

so the breaking up of a line of charcoal

0:54:200:54:22

when it's magnified - how many times they magnify it -

0:54:220:54:25

become other colours,

0:54:250:54:28

and they have to register everything.

0:54:280:54:30

And in their diligence, they create something completely other.

0:54:300:54:35

And that's where, I think,

0:54:350:54:36

in that gap of their intention and what they achieve,

0:54:360:54:40

that's where the magic occurs.

0:54:400:54:42

In the cloud, that really seems to be a sort of explosive, doesn't it?

0:54:430:54:47

That's what that feels like.

0:54:470:54:49

It feels like it's sort of out of control.

0:54:490:54:51

You can almost hear the rumble.

0:54:510:54:52

WOMAN: You've got that kind of lushness

0:54:540:54:57

but also, the sort of quite stormy skies.

0:54:570:55:00

Wonderful contrast.

0:55:000:55:02

Really special.

0:55:020:55:03

When I think of the world we inhabit, everyone will think,

0:55:070:55:10

"Oh, this was done digitally." Yeah.

0:55:100:55:12

Everyone will imagine this was done in that way and it wasn't,

0:55:120:55:14

it was done by hand over days and weeks and months and years.

0:55:140:55:19

I mean, that's what, oddly enough,

0:55:190:55:22

what makes it so mysterious and special.

0:55:220:55:24

I think so. I think something happens creatively when

0:55:240:55:28

human beings don't exclude their soul and spirit

0:55:280:55:31

in the making of something

0:55:310:55:33

and when it's over a long period of time,

0:55:330:55:35

I don't think you can exclude your soul and spirit and you see that

0:55:350:55:39

somehow, that will translate in the work.

0:55:390:55:42

I actually think it's quite an ancient approach,

0:55:420:55:44

because our relationship to time now is changing.

0:55:440:55:47

Our emphasis now is on doing things quickly,

0:55:470:55:50

rather than what happens when we do things slowly,

0:55:500:55:52

so I think in terms of making art, though,

0:55:520:55:56

when things are done slowly because they can't be done quickly,

0:55:560:56:00

we get something else.

0:56:000:56:02

Mr Christopher Ofili, for services to art.

0:56:110:56:15

While overseeing the installation of the exhibition,

0:56:170:56:21

Chris has also been honoured with a CBE.

0:56:210:56:23

This is about your role as a British artist,

0:56:260:56:30

an acknowledgement of what you've done.

0:56:300:56:32

How was that? Pretty quick.

0:56:320:56:33

But chatty.

0:56:350:56:36

I just wonder what he said to you.

0:56:380:56:39

You know, once you get anything like a CBE, certainly at that level,

0:56:390:56:43

you have to sign a Official Secrets Act,

0:56:430:56:47

and any conversations with a member of the Royal Family

0:56:470:56:50

falls within that bracket of the Official Secrets Act.

0:56:500:56:54

I can't discuss...

0:56:540:56:55

Oh, you fibber!

0:56:550:56:56

..what we...

0:56:560:56:58

we spoke about.

0:56:580:57:00

He was curious about this, that's coming on.

0:57:000:57:04

So I think he said he might try and take a look.

0:57:040:57:07

It's nice to be recognised for what you do,

0:57:070:57:09

especially if what you do is on your own terms.

0:57:090:57:11

I'm very much a product of the Empire.

0:57:110:57:13

My parents have a British passport as a result of coming from Nigeria.

0:57:130:57:19

And also, my children have British passports through birth but also

0:57:190:57:23

Trinidad was once part of the Empire.

0:57:230:57:26

So, in many ways, I understand that idea of the Empire -

0:57:260:57:30

although there are negative connotations,

0:57:300:57:32

there are also many positive ones.

0:57:320:57:34

It feels good to be a positive product of what we consider to be

0:57:340:57:39

the Empire. Here you are,

0:57:390:57:41

and I see you connected to this and to Trinidad and to Britain,

0:57:410:57:45

to Nigeria and all these other places.

0:57:450:57:48

But also you're connected to Titian and Goya and Rembrandt

0:57:480:57:53

and this great tradition of art and that's obviously important to you.

0:57:530:57:57

I think I would be the first lamb they would slaughter

0:57:570:57:59

if I was in amongst that lot, but... Well, you are amongst that lot.

0:57:590:58:02

They're next door. Yeah, yeah.

0:58:020:58:04

Actually, yeah. Actually it is a privilege to be...

0:58:040:58:07

..looked at by the same eyes, audience,

0:58:090:58:11

that has just looked at a Titian, and I'm happy that I'm not in the same room!

0:58:110:58:18

GUITARS PLAY

0:58:220:58:23

SHE SINGS IN HER OWN LANGUAGE

0:58:350:58:37

Welcome to The Mash Report!

0:59:310:59:33

Madonna has launched her own range of booted orphans.

0:59:330:59:36

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