0:00:10 > 0:00:13Poetry is a very dangerous place.
0:00:13 > 0:00:15Poetry is never a safe place.
0:00:15 > 0:00:20And it it's safe, then it's probably not what I'd be interested in.
0:00:20 > 0:00:22Poetry is on the edge of things.
0:00:22 > 0:00:27Poetry is pure subversion. It is a way of having a voice about things
0:00:27 > 0:00:31that you wouldn't dare to speak about otherwise.
0:00:33 > 0:00:38Outside the door, lurking in the shadows, is a terrorist.
0:00:38 > 0:00:40Is that the wrong description?
0:00:40 > 0:00:45Outside that door, taking shelter in the shadows, is a freedom fighter.
0:00:47 > 0:00:52The poem wasn't about terrorists. It was about the use of those words.
0:00:52 > 0:00:58I wanted to think about what words we put onto an image and how we define that image.
0:00:58 > 0:01:04Because just depending on the words you use, the right word or the wrong word,
0:01:04 > 0:01:11you can create suspicion or fear or enmity or all kinds of other feelings.
0:01:15 > 0:01:17I haven't got this right.
0:01:17 > 0:01:22Outside, waiting in the shadows, is a hostile militant.
0:01:25 > 0:01:31A lot of poems start in anger, but they have to become something colder and harder to really work.
0:01:31 > 0:01:35It may start in the heat of anger, but the anger has to become targeted
0:01:35 > 0:01:40or the poem can just be a political diatribe or a bit of propaganda
0:01:40 > 0:01:43or, you know, a rant on the page.
0:01:43 > 0:01:48There has to be that whole process of making it into something
0:01:48 > 0:01:52beyond the purely personal or the pure gush of emotion.
0:01:54 > 0:01:59Are words no more than waving, wavering flags?
0:01:59 > 0:02:04Outside your door, watchful in the shadows, is a guerrilla warrior.
0:02:08 > 0:02:12With all the bombardment of media and language around us,
0:02:12 > 0:02:17and language very often used crudely, in broad brush strokes,
0:02:17 > 0:02:24very often poetry has the nuance and the subtlety to bring back the kindness into language,
0:02:24 > 0:02:26the healing qualities, the nuances.
0:02:26 > 0:02:29Not just beauty for itself,
0:02:29 > 0:02:35but the tiny differences that bring a gentleness back into language and into daily life.
0:02:39 > 0:02:41God help me.
0:02:41 > 0:02:45Outside, defying every shadow, stands a martyr.
0:02:45 > 0:02:47I saw his face.
0:02:47 > 0:02:50No words can help me now.
0:02:50 > 0:02:58Just outside that door, lost in shadows, is a child who looks like mine.
0:03:01 > 0:03:06All of life, you put on personas and masks
0:03:06 > 0:03:09and different parts of what you are.
0:03:09 > 0:03:15So there's a definition I gave of myself, which is Scottish Pakistani Calvinist Muslim,
0:03:15 > 0:03:19adopted by India and by Wales as well.
0:03:19 > 0:03:24Really what I'm saying is none of us are just one thing. What makes a person?
0:03:24 > 0:03:29It may be the songs your grandmother sang you, it may be the food you ate,
0:03:29 > 0:03:34but every day is also your heritage and culture and you're making it fresh.
0:03:34 > 0:03:40So that's really what I want to suggest by saying, "I'm all these things, but you are, too."
0:03:44 > 0:03:46One word for you.
0:03:46 > 0:03:52Outside my door, his hand too steady, his eyes too hard,
0:03:52 > 0:03:56is a boy who looks like your son, too.
0:04:04 > 0:04:10I started that poem, knowing I was going to take the image and, fairly schematic,
0:04:10 > 0:04:14I thought, "I'll go through seven different versions of that image."
0:04:14 > 0:04:20At the end of the poem, when I come to the part where I open the door
0:04:20 > 0:04:27and say, "Come in and eat with us," the voice becomes completely different. It's not factual,
0:04:27 > 0:04:30it's not matter of fact. It's a host.
0:04:30 > 0:04:37And that happens quite often in a poem. The words and the rhythm and the idea itself
0:04:37 > 0:04:41takes on a life of its own. That's some of the best poems.
0:04:44 > 0:04:46I open the door.
0:04:46 > 0:04:51Come in, I say. Come in and eat with us.
0:04:52 > 0:04:54The child steps in
0:04:54 > 0:05:00and carefully, at my door, takes off his shoes.
0:05:18 > 0:05:22The first line in our history book,
0:05:22 > 0:05:24I seem to remember,
0:05:24 > 0:05:28was, "West Indian history begins
0:05:28 > 0:05:31"in 1492
0:05:31 > 0:05:34"with the arrival of Columbus."
0:05:36 > 0:05:38It's that very Eurocentric view.
0:05:38 > 0:05:41Nothing exists
0:05:41 > 0:05:45until the European has entered the arena.
0:05:45 > 0:05:51The retelling of history depends a lot on who is telling the story.
0:05:52 > 0:05:58Dem tell me Dem tell me What dem want to tell me
0:05:58 > 0:06:02Bandage up me eye with me own history
0:06:02 > 0:06:05Blind me to me own identity
0:06:05 > 0:06:10Dem tell me bout 1066 and all dat
0:06:10 > 0:06:13Dem tell me bout Dick Whittington and he cat
0:06:13 > 0:06:19But Toussaint L'Ouverture No, dem never tell me bout dat.
0:06:22 > 0:06:26I would like to think that the poem has a celebratory side.
0:06:26 > 0:06:28It's celebrating
0:06:28 > 0:06:32characters such as Toussaint L'Ouverture,
0:06:32 > 0:06:36Mary Seacole, the Amerindian past,
0:06:36 > 0:06:40but in a poem you're not writing a history book.
0:06:40 > 0:06:47You're not writing a piece of journalism, so no matter how well-intentioned you might be,
0:06:48 > 0:06:50or how crucial the facts might be,
0:06:50 > 0:06:53that wouldn't make a poem.
0:06:53 > 0:06:58So it came out in that way, like a counterpoint of two voices.
0:06:59 > 0:07:04So one voice is the nursery rhymes
0:07:04 > 0:07:10counterpointed by a celebration of historical characters.
0:07:11 > 0:07:15Dem tell me bout de man who discover de balloon
0:07:15 > 0:07:18and de cow jump over de moon.
0:07:18 > 0:07:21Dem tell me de dish ran away with de spoon
0:07:21 > 0:07:26but dem never tell me bout Nanny de maroon.
0:07:27 > 0:07:32When I think of Nanny, I'm thinking that you're casting a spell.
0:07:32 > 0:07:36So I think from those words you get the feeling,
0:07:36 > 0:07:38"How can I deliver this?"
0:07:38 > 0:07:43This is a woman who used the traditions of her African ancestry
0:07:43 > 0:07:45so that becomes a kind of a spell
0:07:45 > 0:07:49against an oppressive regime at the time.
0:07:51 > 0:07:55Nanny see-far woman
0:07:55 > 0:07:57of mountain dream
0:07:57 > 0:08:00fire-woman struggle
0:08:00 > 0:08:03hopeful stream
0:08:03 > 0:08:05to freedom river.
0:08:08 > 0:08:13You can write a poem in Creole, but it might be a very reactionary poem.
0:08:13 > 0:08:15It might be very sexist.
0:08:15 > 0:08:22So it doesn't mean that writing a poem in Creole automatically means you're right on.
0:08:22 > 0:08:28But you're using all of your registers of speech, your linguistic heritage,
0:08:28 > 0:08:32and it gives a pride simultaneously in language,
0:08:32 > 0:08:35but also in history.
0:08:36 > 0:08:40Dem tell me bout Lord Nelson and Waterloo
0:08:40 > 0:08:44but dem never tell me bout Shaka the great Zulu
0:08:44 > 0:08:48Dem tell me bout Columbus and 1492
0:08:48 > 0:08:53but what happen to de Caribs and de Arawaks too...
0:08:53 > 0:08:58Let's say I'm playing with words,
0:08:58 > 0:09:02the way you might play with musical notes.
0:09:02 > 0:09:06So a text becomes like a musical score.
0:09:06 > 0:09:11And sometimes the voice of delivery doesn't show itself
0:09:11 > 0:09:14until after the poem is written.
0:09:15 > 0:09:19Dem tell me bout Florence Nightingale and she lamp
0:09:19 > 0:09:22and how Robin Hood used to camp
0:09:22 > 0:09:25Dem tell me bout ole King Cole was a merry ole soul
0:09:25 > 0:09:29but dem never tell me bout Mary Seacole.
0:09:32 > 0:09:36The poet, hopefully, keeps us in touch
0:09:37 > 0:09:42with the vulnerable core of language that makes you what you are.
0:09:42 > 0:09:44It keeps you in touch
0:09:44 > 0:09:48with the heartfelt and vulnerable,
0:09:48 > 0:09:54fragile, complex, contradictory nature of the human beast.
0:09:54 > 0:09:58Dem tell me Dem tell me wha dem want to tell me
0:09:58 > 0:10:03But now I checking out me own history
0:10:03 > 0:10:07I carving out me identity.
0:10:16 > 0:10:21I grew up in a small country village along the Atlantic coast in Guyana.
0:10:21 > 0:10:26To me it still remains a very magical place in my consciousness
0:10:26 > 0:10:31and I think, in a way, my creativity is linked somehow to where I grew up,
0:10:31 > 0:10:35that small country village of my childhood.
0:10:40 > 0:10:43You were water to me
0:10:44 > 0:10:48Deep and bold and fathoming
0:10:49 > 0:10:52You were moon's eye to me
0:10:52 > 0:10:57Pull and grained and mantling...
0:11:03 > 0:11:09I wrote it some time after my mum had died. I was just reflecting on her one day
0:11:09 > 0:11:13and what she meant to me because I loved her very much.
0:11:13 > 0:11:18I wanted to capture, you know, something about her qualities.
0:11:21 > 0:11:23You were sunrise to me
0:11:23 > 0:11:27Rise and warm and streaming...
0:11:32 > 0:11:37This was the only photograph I have of my mother and father.
0:11:37 > 0:11:40It's at my elder sister's wedding.
0:11:40 > 0:11:43My mum is at the very back here.
0:11:43 > 0:11:50I come from a big family. There were seven of us. She had seven children, six girls and one brother.
0:11:50 > 0:11:55We all are extremely close as a family, doing things together.
0:11:57 > 0:11:59Because my mother had so many of us,
0:11:59 > 0:12:06we were allowed a lot of freedom. We were allowed to go fishing and we'd be off on our own for ages.
0:12:06 > 0:12:12And she told us stories at night and fairy tales.
0:12:12 > 0:12:17I'm sure that, you know, is very much part of my consciousness.
0:12:20 > 0:12:25My mum was really a lovely person. She was very kind of...
0:12:25 > 0:12:28..very warm and open.
0:12:28 > 0:12:33Our house was always full of people visiting. She loved cooking.
0:12:33 > 0:12:37That's why some of the images in the poem related to cooking.
0:12:37 > 0:12:43I've also spoken of the flame tree. It's a beautiful tree, lining the avenues of Guyana,
0:12:43 > 0:12:49and it has red flowers. It's very beautiful to look at.
0:12:53 > 0:12:56You were the fish's red gill to me
0:12:56 > 0:12:59The flame tree's spread to me
0:12:59 > 0:13:04The crab's leg The fried plantain smell
0:13:04 > 0:13:07Replenishing, replenishing
0:13:08 > 0:13:12Go to your wide futures, you said.
0:13:17 > 0:13:21In my late teens I wanted to become a novelist,
0:13:21 > 0:13:26but after coming to England, I don't know if it was the emotional separation,
0:13:26 > 0:13:32being away from your culture and all that you know, to England, which is so different,
0:13:32 > 0:13:36maybe that separation drove me more into poetry.
0:13:36 > 0:13:41The Creole language that we use, the everyday language of the people,
0:13:41 > 0:13:44which has been influenced by Africa,
0:13:44 > 0:13:51and all the other races in the Caribbean have influenced the Creole way of speaking.
0:13:51 > 0:13:56And then we have so-called standard English,
0:13:56 > 0:14:02which isn't standard really because English is a complex and beautiful language.
0:14:02 > 0:14:06So having both to draw on is very exciting for me as a poet.
0:14:10 > 0:14:15You trust in your instincts all the way through the poems.
0:14:15 > 0:14:20It's like a little adventure for you because you don't quite know where it will take you,
0:14:20 > 0:14:22how it will turn out or end up.
0:14:22 > 0:14:28You look back at some of the poems you have written and see them as your children, in a way.
0:14:28 > 0:14:32They form their own lives and futures and, whatever happens,
0:14:32 > 0:14:38you just let them go and let people interpret them. After a time, you know, you can't hold on to them.
0:14:38 > 0:14:41They're meant to be shared.
0:14:59 > 0:15:06In Britain, there seems to be a stereotype that all Indians are shopkeepers or doctors or lawyers.
0:15:06 > 0:15:10For me, my parents were shopkeepers and I wanted to write Singh Song
0:15:10 > 0:15:16to celebrate that rather than be embarrassed. You can either pretend that's not really happening
0:15:16 > 0:15:23and write about Indians being astronauts or whatever, or actually go via the stereotype.
0:15:24 > 0:15:28I just want to capture a very ordinary situation.
0:15:28 > 0:15:30I run just one ov my daddy's shops
0:15:30 > 0:15:32from 9 o'clock to 9 o'clock
0:15:32 > 0:15:35and he vunt me not to hav a break
0:15:35 > 0:15:38but ven nobody in, I do di lock -
0:15:38 > 0:15:41cos up di stairs is my newly bride
0:15:41 > 0:15:44vee share in chapatti vee share in di chutney
0:15:44 > 0:15:48after vee hav made luv like vee rowing through Putney...
0:15:50 > 0:15:54When I think of first-generation Indians that came to Britain,
0:15:54 > 0:16:00people like my family, my parents got vouchers to come over for free to work here
0:16:00 > 0:16:06in the 24-hour factories and Underground. It's not a job you imagine doing to 65
0:16:06 > 0:16:10and retiring. You probably wouldn't survive.
0:16:10 > 0:16:16So the aspiration, the ambition for a lot of my parents' generation was to become independent
0:16:16 > 0:16:20and the best way was to buy your own shop.
0:16:21 > 0:16:25di shoppers always point and cry: Hey Singh, ver yoo bin?
0:16:25 > 0:16:28Yor lemons are limes yor bananas are plantain,
0:16:28 > 0:16:31dis dirty little floor need a little bit of mop
0:16:31 > 0:16:35in di worst Indian shop on di whole Indian road.
0:16:37 > 0:16:41My writing about an Indian who's a shopkeeper in an Indian accent
0:16:41 > 0:16:48could imply that I'm making fun of my character, but hopefully people can see through that
0:16:48 > 0:16:50and see through their own prejudices.
0:16:50 > 0:16:54Above my head high heel tap di ground
0:16:54 > 0:16:57as my vife on di web is playing wid di mouse...
0:16:57 > 0:17:04The issue for me was it's always racialised, the Indian accent, it's always made fun of on telly.
0:17:04 > 0:17:07To me there's nothing wrong with the Indian voice.
0:17:07 > 0:17:13I'm quite excited by the idea of making the reader have to read the poem in the Indian accent
0:17:13 > 0:17:20and have to deal with it. And, hopefully, the reader feels there's nothing wrong with the accent.
0:17:20 > 0:17:26It's another type of English. Hopefully they enjoy putting their mouth through those words
0:17:26 > 0:17:33and feel they're experiencing a slightly different type of music to when they normally read a poem.
0:17:33 > 0:17:36my bride she effing at my mum
0:17:36 > 0:17:38in all di colours of Punjabi
0:17:38 > 0:17:42den stumble like a drunk making fun at my daddy
0:17:42 > 0:17:47my bride tiny eyes ov a gun and di tummy ov a teddy
0:17:47 > 0:17:53my bride she hav a red crew cut and she wear a Tartan sari...
0:18:00 > 0:18:06I think when I was writing this poem I was trying to offer an affectionate portrayal of the characters,
0:18:06 > 0:18:11in that I liked Mr Singh, I liked what he was about.
0:18:11 > 0:18:16I liked that he didn't care about his shop and put love before business.
0:18:16 > 0:18:18Shall we run back to Daddy?
0:18:18 > 0:18:23Also I was very aware that you don't get happy love poems in English poetry.
0:18:23 > 0:18:28They're quite moody or grim because someone's died.
0:18:28 > 0:18:34And you suddenly realise, like Thomas Hardy, that you're in love with that person.
0:18:34 > 0:18:39So I decided to write a love poem in the end, but in a shop context.
0:18:39 > 0:18:43vee cum down whispering stairs and sit on my silver stool,
0:18:43 > 0:18:46from behind di chocolate bars
0:18:46 > 0:18:49vee stare past di half-price window signs
0:18:49 > 0:18:53at di beaches of di UK in di brightey moon -
0:18:53 > 0:18:56from di stool each night she say,
0:18:56 > 0:19:01How much do yoo charge for dat moon baby?
0:19:01 > 0:19:03from di stool each night I say,
0:19:03 > 0:19:07Is half di cost ov yoo baby,
0:19:07 > 0:19:09from di stool each night she say,
0:19:09 > 0:19:13How much does dat come to baby?
0:19:13 > 0:19:15from di stool each night I say,
0:19:15 > 0:19:18Is priceless baby -
0:19:28 > 0:19:34A ghazal was a form I became interested in partly because it's Persian
0:19:34 > 0:19:40and I'm from Iran, and it's a way of sort of trying to understand a bit more
0:19:40 > 0:19:45about the literature, the poetry of Iran particularly.
0:19:45 > 0:19:50If I am the grass and you the breeze, blow through me
0:19:50 > 0:19:55If I am the rose and you the bird, then woo me...
0:19:57 > 0:20:02A ghazal is from sort of 12th century onwards.
0:20:02 > 0:20:05It's really like a little song lyric.
0:20:06 > 0:20:10It's very much associated with Sufi poets,
0:20:10 > 0:20:14so it's a form of mystical love poetry.
0:20:16 > 0:20:20If I am the rhyme and you the refrain don't hang on my lips
0:20:20 > 0:20:24Come and I'll come too when you cue me...
0:20:25 > 0:20:31I think inasmuch as the sonnet was also...it's a little song, a sonetto,
0:20:31 > 0:20:35and it's the same in the east. It's the ghazal.
0:20:37 > 0:20:41If mine is the venomous tongue, the serpent's tail
0:20:41 > 0:20:47charmer, use your charm, weave a spell and subdue me...
0:20:48 > 0:20:52In the ghazal, you can use tones, I suppose,
0:20:53 > 0:21:00that in contemporary, well, British poetry anyway, one would be shy of.
0:21:01 > 0:21:06I think it gives you permission to sort of break all those kind of
0:21:06 > 0:21:11no-nos, where you mustn't be sentimental or over the top.
0:21:13 > 0:21:18If I am the laurel leaf in your crown you are the arms around my bark,
0:21:18 > 0:21:21arms that never knew me.
0:21:31 > 0:21:34The thing about form is it's...
0:21:35 > 0:21:39For me the main thing is it gives you something to write about.
0:21:39 > 0:21:44People sometimes think it's the opposite, that you have something to say
0:21:44 > 0:21:51and then you find the form to put it in, but quite often you start off with nothing to say,
0:21:51 > 0:21:56you can't think what to write about or anything, and if you have a form
0:21:57 > 0:22:00it will lead you to the content.
0:22:01 > 0:22:05So, in general, that's what excites me about it.
0:22:09 > 0:22:13If each couplet was like a spoke in a wheel,
0:22:13 > 0:22:18going like that rather than linear, as it appears on the page -
0:22:18 > 0:22:22I think in my mind it's really a radial, circular form -
0:22:22 > 0:22:27then in the middle of the hub of that wheel will be the refrain word.
0:22:27 > 0:22:34It's like the hook in song lyrics. It's the bit that everybody knows, that everyone joins in at that point.
0:22:34 > 0:22:38So here we've got "blow through me" and then "woo me",
0:22:38 > 0:22:43so everyone knows that the couplets are going to end like "oo me".
0:22:43 > 0:22:47So you continue with that "oo me" thing, but with the last couplet,
0:22:47 > 0:22:54this is the place for the personal voice to come in. In this one I have "twice the me I am",
0:22:54 > 0:22:58ie meaning, you know... So it can be a play on your name,
0:22:58 > 0:23:01if you're a bit coy!
0:23:03 > 0:23:08In a way, the ghazal is a way of my honouring my heritage.
0:23:08 > 0:23:14Maybe it is a way of connecting not only with Iran
0:23:14 > 0:23:21or an idea of Iran, the culture of Iran, but with the very positive aspects because, in Iran,
0:23:21 > 0:23:25poetry is the highest of all the arts
0:23:25 > 0:23:29and hugely known and loved by everyone, even by illiterate people
0:23:29 > 0:23:33who can quote great chunks of it by heart.
0:23:34 > 0:23:38If I rise in the east as you die in the west,
0:23:38 > 0:23:43die for my sake, my love, every night renew me.
0:23:44 > 0:23:48If, when it ends, we are just good friends,
0:23:48 > 0:23:55be my Friend, muse, brother and guide, Shamsuddin to my Rumi.
0:23:55 > 0:24:00Be heaven and earth to me and I'll be twice the me I am,
0:24:00 > 0:24:03if only half the world you are to me.
0:24:16 > 0:24:20What's that fluttering in a breeze?
0:24:21 > 0:24:24It's just a piece of cloth
0:24:24 > 0:24:28that brings a nation to its knees.
0:24:33 > 0:24:38When you think about Flag, that very simple,
0:24:38 > 0:24:42but yet iconic thing that every country has,
0:24:42 > 0:24:45it's associated with nationhood.
0:24:46 > 0:24:49It's associated with jubilation,
0:24:49 > 0:24:52you might think of the Olympics,
0:24:52 > 0:24:55but there is another dimension
0:24:56 > 0:24:59when imperialistic attitudes
0:25:00 > 0:25:02and blinded,
0:25:02 > 0:25:07shall we say, power becomes attached to that flag.
0:25:07 > 0:25:12So there are various resonances pertaining to a flag
0:25:12 > 0:25:18and I think the poem is just a little journey
0:25:18 > 0:25:21of questions.
0:25:22 > 0:25:24It gets you to rethink
0:25:24 > 0:25:27what you take for granted.
0:25:29 > 0:25:34What's that unfurling from a pole?
0:25:35 > 0:25:38It's just a piece of cloth
0:25:38 > 0:25:42that makes the guts of men grow bold.
0:25:58 > 0:26:03Is humanity waving the flag
0:26:03 > 0:26:07or is the flag waving humanity?
0:26:07 > 0:26:13In other words, are we at a point where you become controlled
0:26:13 > 0:26:15by your own ideology?
0:26:17 > 0:26:25These are questions that the poem is asking without necessarily stating exactly how to think.
0:26:26 > 0:26:30I wanted to explore that old, traditional
0:26:30 > 0:26:32sense of riddling.
0:26:32 > 0:26:35And through riddling
0:26:35 > 0:26:38you're rethinking the obvious.
0:26:41 > 0:26:45What's that rising over a tent?
0:26:45 > 0:26:49It's just a piece of cloth
0:26:49 > 0:26:52that dares the coward to relent.
0:27:05 > 0:27:10You have so many endless ideas that might come floating into your head at any given time
0:27:10 > 0:27:14so keeping that chaos of ideas
0:27:14 > 0:27:17within a structured vessel,
0:27:17 > 0:27:21sort of a measured sort of beat,
0:27:21 > 0:27:26there's no room for endless waffling in a poem.
0:27:26 > 0:27:30And it's an offering
0:27:30 > 0:27:33of your most intense personhood.
0:27:33 > 0:27:39The dreaming part of you, the subconscious part of you.
0:27:39 > 0:27:43So, in a way, the poem is a revelation to you as well.
0:27:51 > 0:27:56What's that flying across a field?
0:27:56 > 0:27:58It's just a piece of cloth
0:27:58 > 0:28:04that will outlive the blood you bleed.
0:28:04 > 0:28:07How can I possess such a cloth?
0:28:08 > 0:28:13Just ask for a flag, my friend.
0:28:13 > 0:28:17Then blind your conscience to the end.
0:28:23 > 0:28:26Different things can inspire you.
0:28:26 > 0:28:31It can be something as straightforward as a photograph.
0:28:32 > 0:28:37You might be on a train and you glimpse a funny headline.
0:28:38 > 0:28:43It can be anything that begins to nibble at you.
0:28:43 > 0:28:47I think poets have not only got their ears open,
0:28:47 > 0:28:51they've got their eyes open to words around them.
0:28:51 > 0:28:57And if you get the right words in the right order, something magical could happen.
0:28:57 > 0:29:04And I think those who go on to be poets have got that lasting love affair with language.
0:29:12 > 0:29:16Subtitles by Subtext for Red Bee Media Ltd - 2011
0:29:17 > 0:29:19Email subtitling@bbc.co.uk