Black History month in the UK is an annual event which continues to increase its profile. The occasion inspires varying degrees of devotion depending on ones understanding of its meaning and purpose.

Whilst some celebrate and fully immerse themselves in all the month has to offer, others are critical, suggesting that the reduction of Black History to ‘a month’, is belittling and insulting. Some regard it as an over celebrated crumb, pitifully bestowed upon the minority Black community from the great table of the British government. With the varying ideas surrounding the season, rediscovering the origins of Black History Month may go a long way to informing the various perspectives.

Black History Month finds its origins in the work of noted Historian Carter G. Woodson (1875-1950). Born to formerly enslaved Afrikans in the USA, Woodson would be one of the very few Black people in that era to gain an education. His brilliance led him to be the second Black man in the USA to achieve a PHD from Harvard University in 1912 – an era saturated by the idea that ‘the negro has no history.’  Depictions of Afrika being a “Dark Continent” [1] populated by savages, prevailed in all areas of western life from religion to academia. Such a lowly characterisation not only defined how Black people were considered and treated, but how we consequently viewed ourselves. Afrika became an object of shame – a perpetual scar on the pride of its descendants.

Despite the prevalence of these ideas, there were those like Carter G. Woodson who were compelled to challenge them. Studying the contribution of Black people in America, put him firmly on the path towards uncovering the lost History of Black People as a whole. To aid his research, he founded, The Association for the Study of Negro Life and History in 1915. Although being so highly educated in such circumstances was undoubtedly an achievement for any Black man, Woodson was not naive about benefits he had gained:

“The same educational process which inspires and stimulates the oppressor with the thought that he is everything and has accomplished everything worthwhile depresses and crushes at the same time the spark within the Negro, making him feel that his race does not amount to much and never will measure up to the standards of other peoples.  The Negro thus educated is a hopeless liability.”

Carter G. Woodson’s mission therefore, appears to have been the development of a new educational ideal that instills pride & dignity in the descendants of Afrika. Along with the Association for the Study of Negro Life and History (now Association for the Study of Afro-American Life and History), he published the Journal of Negro Life and History (1916) and founded, Negro History Week in February 1926. Woodson was also an activist, working with several Black organisations including Marcus Garvey’s, Universal Negro Improvement Association [2], for whom he would become a regular contributor to the Negro World Newspaper.

The intensity of this period would later inspire the Black Power, Pride and Revolutionary zeal that swept throughout the Black world during the 1960’s/70’s. This reignited sense of pride inevitably gave rise to a will for self-definition as Black people began to throw away the derogatory designation of ‘Negro’. It was also decided that a week was too short a period to do justice to such an event, thus Negro History Week became Black History Month in 1969. This period inspired the mind of a young man who would grow to have a profound impact on Black UK.

Akyaaba Addai Sebo was raised in osagyefo Kwame Nkrumah’s Ghana. In a nation filled with the spirit of Independence and Self Reliance, he would be one of many young men and women to benefit from Nkrumah’s Young Pioneers Movement [3], developing a new generation of leadership for Afrika. Addai Sebo’s education would carry him to America in the 1970’s, where he would learn of the celebrations of Black History Month, which had grown to be a national holiday with great successes in developing a renewed sense of Pride among Black children. Upon moving to London and working in the Greater London Council (GLC), a moving experience with a colleague fired his conviction:

“The inspiration for Black History Month came from an incident that happened at the GLC where I worked as the coordinator of special projects. A colleague of mine, a woman, came to work one morning, looking very downcast and not herself. I asked her what the matter was, and she confided to me that the previous night when she was putting her son Marcus to bed he asked her, ‘Mum, why can’t I be white?'”

Further inspection would reveal that young Marcus, who had been named after Marcus Mosiah Garvey, was suffering victimisation at school. This coupled with a constant flow of information reinforcing the role of Great Europeans who brought light to the savage continent of darkness, imbued Marcus with a very low sense of self:

“So when this incident with Marcus took place in London, it dawned on me that something had to happen here in Britain. I was very familiar with black history month in America, and thought that something like that had to be done here in the UK, because if this was the fountainhead of colonialism, imperialism and racism, and despite all the institutions of higher learning and research and also the cluster of African embassies, you could still find a six-year-old boy being confused about his identity even though his mother had tried to correct it at birth.” [4]

Thus in 1987, Black history Month UK was born, initiated by the Strategic Policy Unit which brought contributions from Herman Ouseley, Paul Boateng MP, Bernie Grant MP, Linda Bellos and more. This was a transformative time for the Black community in the UK. 1987-88 was designated “Afrikan Jubilee Year” – coinciding with several significant anniversaries, namely: The Centenary of the birth of Marcus Mosiah Garvey, 150 years since Emancipation ended slavery in the Caribbean and the 25th Anniversary of the founding the Organisation of African Unity on the continent. The spirit of Pan-Afrikanism was therefore very strong among Black people in Britain and the Pan-Afrikan organisations that sprung from this no doubt had a profound impact on the spirit and focus for the celebration.

Consequently, the first Black History Month UK would feature several illustrious women and men from across the Afrikan world – including; Maulana Karenga (founder of Kwanzaa), Frances Cress Welsing (Author of The Isis Papers), foremost Marcus Garvey, Historian Prof Tony Martin and then 1st Lady of Zimbabwe – Sally Mugabe. The expressed aims & objectives were:

1. To promote positive public images and understand of Afrikans and people of Afrikan descent and encourage the positive teaching and development of their history, culture and struggle.
2. To support Afrikan organisations and liberation movements based in London.
   Immense synergy can be found with the advent of both manifestations of Black History Month. The UK however, unlike the rest of the world, designated October as its chosen month. According to Akyaaba Addai Sebo this was done for a few well-considered reasons: “We decided on October as the month to celebrate black history because apart from its significance within the African calendar – the period of the autumn equinox in Africa – October is consecrated as the harvest period, the period of plenty, and the period of the Yam Festivals. It was the time in history when Africa, Egypt and Ethiopia for example were the cradle and breadbasket of civilisation.”

It was also thought that it would be a more beneficial time for schools, allowing children to receive the full benefit of a longer month at an earlier phase of the academic year.

Today, many schools and local authorities are promoting various mutation of Black History Month including – Diversity Month, BME Month and Multi-Cultural Appreciation. Others including Kwaku of the British Black Music Congress, seek to evolve the spirit of self-definition with the name Afrikan History Month. Further still, many organisations led by the inspiration of Jak Beula (originator of Nubian Jak board game) have sought to unite the legacies of Carter G. Woodson and Akyaaba Addai Sebo, with Afrikan Heritage Season, celebrated from February-October.

Guidance for all these developments, will be well informed by the original intentions of Black History Month as expressed in the Afrikan Jubilee Year Declaration:

“By the designation of October as Black History Month it is our expectation that “Africa’s ideals”, shall forever be manifested in the upliftment of the African Personality in our schools, institutions of higher learning, communities, borough councils and especially in the hearts, minds and deeds of politicians.”

References

[1] – British explorer Henry Morton Stanley was said to have coined the phrase ‘Dark Continent’: 

[2] – Marcus Garvey’s Universal Negro Improvement Association: 

[3] – Kwame Nkrumah’s Young Pioneers Movement: 

[4] – Akyaaba Addai Sebo: 

DANNY GLOVER IS A G! The Man fully set BFI’s Black Stars event alight with keen insight and absolute down-to-earthness on Sat 17^th Dec. Upon entry we were presented with his filmography – beginning in 1979. One would be forgiven for feeling that in another universe, such a depth and breadth of quality roles would be worthy of much more celebration. But such thoughts are wasted on a man who is infinitely comfortable with his achievements.

It became clear that the underlying current of this catalogue is not only Mr. Glover’s talent for effectively delivering a black narrative, but his uncanny ability to make his art a vehicle for his activism. A fact which no doubt inspired host, BBC’s Samira Ahmed opening question: “Was activism always in your blood?”

To which he replied: “My mother said ‘I am eternally grateful for my mother and father, because I didn’t pick cotton in September, I went to school in September’. So there’s a paradigm shift there… I am sitting on this stage because my mother didn’t pick cotton in September.”

Such answers typified an evening where a story about preparation for a role as a serial killer became a tale about how Glover began to take Pilates in an era where few men were doing so. Everything from the “craziness” of Lethal Weapon Co-Star, Mel Gibson to the perils of climate change were up for grabs. We learned that Lethal Weapon 5 was unlikely, though not impossible. We learned of Glover’s acting beginnings while studying at university and working with Amiri Baraka, “The leading voice around Black Arts” in the 60’s. We learned of his early experiences serving in the Black Panther Party’s breakfast programs as early as 1968 and engaging in political education as a result. These experiences and more inspiring him to not just be a “good actor” but become a “good citizen”.

Ahmed placed the role of ‘Mister’ in The Color Purple within the context of black women novelists becoming highly sought after university study material during the 1980’s. Glover explained why he relished the opportunity to read them all, particularly for their commentary on black men:

“I always say women, particularly black women, understand me better than I understand myself sometimes.” The balance between a matriarch mother and a father, who “was the most beautiful man I ever met in my life” provided him the balance and ease to take on a role which was for many, a challenge to the entire concept of Black manhood.

When asked about, Beloved, his unequivocal response was: “It was the most important film I have ever made”. A statement which served as the basis for an apt, timely and powerful commentary on the importance of confronting slavery narratives, and the healing power of doing so through art. Providing insight into his Pan-African perspective on such matters, Glover treated us to a knowledge of his favourite novels from post-colonial Africa, namely: 1. Things Fall Apart – Chinua Achebe. 2. So Long a Letter – Mariama Ba. 3. God’s Bits of Wood – Ousmane Sembène, the legendary Senegalese director, for which Glover endeavours to complete the on screen adaptation.

My personal mission appeared to be thwarted due to limited time constraints but the answering style of the evening rescued my ambitions as an audience question on an unfinished Paul Robeson project brought us firmly to the subject of ‘Toussaint’, Glovers intended epic on the Haitian Revolution. When asked directly where Toussaint was at, he declared assertively “We gonna get it done!” –  The audience left audibly pleased with his resolve.

Somewhat coincidentally, the most critical question was saved for last. Paraphrasing an audience member; describing the current high profile of on screen black people and black narratives as “several Christmases all at once”, he asked whether the industry’s response to #OscarsSoWhite and NBC reportedly commissioning 2 Black owned channels [1], have we arrived at the tipping point of consistently black representation in the mainstream. Danny Glover’s answer was so exquisite, it must be relayed verbatim.

“Dr. King always said, ‘I’m not simply trying to integrate black people into this current system – I’m about changing the soul of this country.’ That’s my mission… Does the positioning of black people in the system, change the soul of the country? That’s the question we have to ask – particularly now. Perhaps, this is a moment where we have a greatest challenge and our greatest opportunity at the same time.”

References:

[1] – 

For more events in the BFI Black Star season please go to their website

Admittedly, I am not a part of the “I’m tired of slavery films” posse. A brief look at the number of films on World War II [1] and the Jewish Holocaust [2] demonstrates that narratives of the enslavement of African people and related crimes against African humanity (e.g. Colonialism) are woefully under represented on the big screen. Furthermore, I find the idea that there can be “too many” films on arguably the most defining historical period informing our present-day reality to be frankly, ridiculous.

Critical analysis of the type of films which do make it through however, is an area that must be actively engaged. When one considers the sheer number of African enslavement narratives that are yet untold, it becomes clear that the only true vehicle through which to shape and project such a comprehensive variety is (the makings of) a truly independent African Diasporan film industry. Alas, we are still in the making, therefore these narratives are dominated by Hollywood and the story it chooses to tell – or not tell. Without a doubt, the greatest casualty of the many omissions are films on the enslaved Africans who fought back [3]. It is in this context that a film on the Nat Turner Rebellion must be understood.

It can justifiably be said that the story of Nat Turner was kept alive mostly by Black Nationalists. He is the most celebrated archetype of how Africans fought back in the USA, in the same light as Toussaint L’Ouverture and Jean-Jacques Dessalines of Haiti or Queen Nzinga of Angola, and Yaa Asantewaa of Asante Land, Ghana. The terrain has been that of overcoming attempts to overshadow the rebellion with other narratives as well as direct attempts distort it [4]. Whenever the debate around a different slavery narrative comes up, Nat Turner’s is the story at the top of the list.

An independent film, “Nat Tuner Unchained” was announced in 2012 [5]. Complete with a trailer and online auditions it promised to be a no holds barred telling of the epic drama. However, that film project has yet to come to fruition. So when Birth of a Nation (B.O.A.N) was finally announced, after years of encountering Hollywood’s disgraceful record with black narratives it was met with everything from cautious optimism to absolute elation. I was a proponent of the former; the big backing of Fox Searchlight being a significant factor influencing my caution over optimism. Still, I harboured no doubt about the importance of the film and the fact that it would be important to go and see it.

There has definitely been resistance to B.O.A.N; everything from past allegations against Nate Parker taking centre stage in its opening weeks, to reports of people receiving the wrong ticket stubs after booking to see the film, and being told the film was sold out [6]. The current climate is characterised by its deficit of black male characters in powerful culturally and racially affirming roles, and narratives of black men as anything other than abusers of black women are almost completely absent from serious drama. So this film was already going against the grain.

When taking a group of young people to go and see the film, I was struck by the uncharacteristically understated poster that was to be the public face of this historical film. Comparing it to the other posters on the same walls, I questioned how a film that was biographical in nature, had a main promotional image that did not feature the main protagonist in a prominent position. There was no central image, and no, the obvious American flag theme did not move me. Having seen far more effective imagery associated with this film I had to ask myself – why this image? Opening weeks in the USA came with reports of the film being a “box office bomb”. Yet due to its success at the Sundance Film Festival, Nate Parker was already in credit by the time B.O.A.N hit general release, making a reported $10 million in its opening weekend and finished 10^th at the box office by the end of its first week [7]. Basically, rewriting the standard of what a “flop” actually is at the box office.

Steve McQueen’s Oscar winning  12 Years a Slave (2013) currently stands as the pinnacle of African enslavement film success since its release, and comparisons will undoubtedly abound. Harsh critics of B.O.A.N will miss the cinematic polish of 12 Years a Slave, but produced with nearly twice the budget and with probably less of the resistance 12 Years may not be an entirely fair beast to compare to. Though not perfect, B.O.A.N manages to achieve some significant things its contemporaries do not.

Firstly, there are no ‘White Saviours’ in B.O.A.N – not explicitly anyway. This may seem like a minor point, but the ubiquitous presence of such characters in practically every slavery film makes this one completely unique. Instead, Nate Parker does an excellent job of taking us through Nat Tuner’s personal journey from enslaved to rebel. He is nuanced, subtle, strong and vulnerable and through his journey as a preacher we learn of the motivation behind those who would eventually join him. All the major players are African. Master Sam Turner (Armie Hammer, Free Fire), threatens to pierce Nat’s black wall as he sways between ‘good’ and ‘tortured’ Slave Master. But ultimately, his tortured soul serves as a testimony to Nat Turner’s resolve as he is the very first to be put to the blade, by Nat Turner himself.

A key aspect of the film that may easily be overlooked, is the economic context. As stated by Christian Preacher Rev. Zalthall:

“I don’t gotta tell you times are tuff with the drought. It’s getting harder for the whites in this county to clothe and feed their niggers good. Talks of insurrection got folks scared.”

A sentiment repeated by another slave driver later in the film. The context for this, is that slavery was becoming a more costly enterprise. Slave rebellions were on the rise and a decade earlier, Denmark Vesey had put the fear of God into white America with a meticulously planned rebellion, sold out by an informer. But just his plans alone were enough to have the system of slavery on edge for years to follow. All this combined to force people like economist, Benjamin Lundy to write in 1831:

“We believe, from evidence which to us is conclusive, that the real interests of the slave-holder would to him be more secure, were he to change his slaves into hired freemen. That the expenses of free-labour are less, compared with its profits, than those of slave-labour.” [8]

In establishing the motivation that ties together the forces driving the slave drivers, B.O.A.N also achieves another feat that distinguishes it from its contemporaries. Most Slavery films tend to reduce the narrative to the personal story making the collective experience a casualty of the individual journey. The desire for freedom therefore becomes about the central character’s individual interests rather than the wider desire for the freedom of African people. Both, Django Unchained (2012) and 12 Years a Slave are key examples of this narrative.

B.O.A.N however, see’s Nat Turner, though undoubtedly affected by the experiences of those close to him, ultimately concerned with the brutality inflicted on his people; some of whom he only meets in passing on his preaching expeditions. Two scenes stand out as exemplary in this regard; the first being the initial war counsel that brought together the would-be revolutionaries. The question arises as to the dangers of initiating a rebellion, Nat implores his fellow warriors:

“Once it begins our brothers & sisters will join… We’ll start right here on Turners and fight our way there. By then we’ll number in the hundreds, thousands even. The grapevine is ablaze with talks of fighting. Slaves all over are having meetings. They waiting on something. They waiting on us.”

Another powerful scene, during the rebellion, Hark (Colman Domingo, Selma), Nat’s right hand man attempted to seek revenge on a slave driver for the rape of his wife, Esther, in the midst of a precarious situation that endangered the entire rebellion. No doubt Hark’s anger was justifiable, still Nat Tuner implored:

“This ain’t about revenge Hark. The root, not the branch. We must stay focused brother.”

To which Hark commands the Rebels to fall back, foregoing his personal agenda in order to preserve the revolution for another day. A powerful moment. This does bring me to a sticky point however.

The roles of the women in the film. I have never seen Gabrielle Union so underused. Aunjanue Ellis never fails. Esther Scott and Naomi King all had powerful screen presence, but it did feel as though more should have been done with their brilliance. For example, though not much is known of Nancy & Bridget (Turner’s Mother & Grandmother), they are said to have been a powerful, motivating force in his life. As alluded in the opening scene his mother was an Akan traditionalist, believed to have been born and kidnapped from West Africa. Although Nat is said to have been a gifted child, much of his spiritual outlook was inspired by these two women. With the creative license used in many other areas of the film, it is difficult to figure out why these roles in particular, were reduced to moral support and words of encouragement. The opportunity for more effectual and robust portrayal was lost here.

At this point we must discuss the sensitive issue of rape. In B.O.A.N Nat and Hark are both torn to pieces after the rape of their wives by white slave drivers. There was a moment where it seemed the unchartered territory of sexual violence against black men (a pervasive yet under-discussed aspect of the enslavement experience) was going to be explored. Instead, we see Hark being called upon to give Esther over to one of Master Turner’s guests. A powerful scene; heart wrenching to say the least. The anguish and torment between Esther and Hark as they sought to comfort and support each other through the trauma was palpable. I am strongly convicted that we need narratives such as this to keep us in touch with these experiences even as we rid ourselves of the effects, people had to maintain families through this. However, I do believe that we must explore the over reliance on rape of black women in slavery narratives which fail to, on the other hand, portray the fighting spirit of those very same women, beyond the ability to withstand unspeakable brutality. There is a serious imbalance here that must be addressed.

Aside from the explicit portrayal of a traditional African ritual at the very beginning, the film does contain a few nods to Akan spirituality. Most notably in certain music choices such as Hark and Esther’s wedding song on the “Tree of Life” and then, Mama Bridget’s gravesite subtly portrays how African tradition was disguised with a veil of Christianity. Like many narratives, the over reliance of Christianity as THE motivating vehicle for thoughts of freedom is abundant in B.O.A.N. This is a double-edged sword. On one hand, the dramatic paradox of biblical interpretation is beautifully built up to crescendo when Nat finally challenges the white Reverend Zalthall (Mark Boone Junior, Sons of Anarchy) to a scriptural sound clash. It’s a tension you could feel building. On the other hand, the abundant African cultural retentions go severely understated in comparison. A fact which would have easily been resolved had Nancy or Bridget’s characters been afforded more agency.

There are a few facts and legends surrounding the Nat Turner narrative that would have provided Nate Parker and his team an abundance of creative direction as well as added countless dimension to this film. The primary vehicle for the reliance upon Christian doctrine is Nat Turner’s (fictional) preaching tour. Whilst many regard Nat to have been a preacher, there is no evidence to suggest that he was carried across plantations to “calm the slaves”. He was however, a fiercely spiritual man, some say a prophet whose destiny was inspired by the many visions he received and divinations he performed. For example, this quote taken from the Richmond Whig Newspaper, 1831:

 “General Nat was no preacher, but in his immediate neighbourhood, he was acquired the character of a prophet; like a Roman Sybil, he traced his divination in characters of blood, on leaves alone in the woods; he would arrange them in some conspicuous place, have a dream telling them to him, to whom he would interpret their meaning. Thus, by means of this nature, he acquired an immense influence, over such persons as he took into his confidence.” [9]

Another quote taken from the same publication:

“Tis true, that Nat has for some time, thought closely on this subject—for I have in my possession, some papers given up by his wife, under the lash—they are filled with hieroglyphical characters, conveying no definite meaning.” [9]

The “some time” referred to in the latter, alludes to the fact that Nat Turner took between 6-10 years to plan the rebellion. Having escaped from slavery he eluded capture for a month before returning to the plantation to map out and initiate the insurrection. These omissions from B.O.A.N have critical impact. In the Nat Turner we see charging towards the enemy quoting chapter and verse, we lose key elements for factual as well as creative exploration.

Finally, my most significant critique is for the very last scene. After a powerful 3rd act, featuring the explosive rebellion – which didn’t get enough screen time for my tastes, Jasper (Kai Norris, Forced Move) –  a young boy who eventually betrays the rebellion (also fictional), ends up watching the execution of Nat Turner live and in the flesh. As Nat smiles down on him with all the forgiveness of Christ himself, we see the camera focus on the boy’s eyes then zoom out to reveal him as a grown man, fighting the Union Army on behalf of the North, during the American Civil War. Unfortunately, this scene, especially as the final scene, lends itself to a narrative of the North under the leadership of Abraham Lincoln who, “freed the slaves”. The depiction of the plight of the North in the Civil War as a continuation of what Nat Turner was fighting for is problematic because it is false, and gives the impression of lending an implicit nod to a white saviour. Despite the sincerely held beliefs of those Africans who fought in his army, it should be remembered that good old Abe made his intentions clear: “My paramount object in this struggle is to save the Union, and is not either to save or to destroy slavery.” [10]

If decolonising history is to be a goal of today’s black filmmaker, a concerted effort should be made to continue to tear down these false idols, especially in a film on Nat Turner. In using the title, ‘Birth of a Nation’ we understand Parker is attempting to overturn the legacy of the 1915 original Birth of a Nation – one of the most derogatory films in history which signified the birth of Hollywood. The prevalent narratives of African resistance in the Americas are that we were all just fighting to become more American. That the ultimate goal of the fight was simply to reap the rewards of the land of freedom and democracy. That our greatest triumph lies not in the self-determined agency of African fighting for freedom on our own terms, but in our ability to don a uniform and fight under the banner of the stars and stripes. This narrative serves a purpose; it ensures that no matter what, the overall sanitised image of America is maintained and preserved before the world. That we still have some aspect of the American dream upon which we can invest our faith. Whilst this idea has no doubt endured, it is by no mean the only goal envisioned by Africans seeking to liberate themselves. The title, ‘Birth of a Nation’ may actually be a clue in defining what those other goals were. Some were fighting to build their own nations in a manner that Haiti did in 1804. In short, having invested much faith in Nat Turner and the sisters and brothers throughout the film; this was a disappointing ending for me.

Birth of a Nation is a must-see film. Despite its flaws, whether they be historical, political or cultural, the present day context makes it a defining moment in terms of how we develop black narratives on the big screen. Was it the slave rebellion epic many were expecting? No! But it is in many ways a step in a better direction. Critiques notwithstanding, I find greater productivity in acknowledging Birth of a Nation for the good that is in it, while using it as a springboard for further creation and a marker from which to improve.

Birth of a Nation is in UK cinemas now. Check your local cinema for listings.

Read TBB’s #OutOf100 review of Birth of a Nation here

References:

“Dem Afrikans they done sold us as slaves!!!”

“Well those West Indians are just criminals anyway!!!”

These are a few of the perceptions tackled head on by UK Born Ghanaian Spoken Word Artist, TuggSTAR in his new book, The Secret Relationship Between African & Blacks! Understanding the conflict between Africa & its Diaspora.

Most spoken word artists, are multi-faceted creatives; immersed in various disciplines either through desire or necessity, usually resulting in addressing an issue or having some transformative impact of people’s lives. As far as spoken word in the UK is concerned, the name TuggSTAR has earned international recognition. A poetry slam champion, well-travelled performer, with 2 critically acclaimed EPs (The Africa EP & Season of Lost Love), he became the journalist who brought spoken word to masses through a column in the New Nation Newspaper. Fulfilling the purpose of his moniker, Stay True After Rhyme – Tuggs applied his convictions to work as a Rites of Passage guide and a Gang Intervention Specialist working directly with young black men.

The combination of the above means that Tuggs has always demonstrated the ability to encapsulate the black experience in his words; crystalising the present in a manner relevant to ears of future generations. A talent exemplified in his classic, Tuggstar for President a piece which inspired myself and the rest of the Best Kept Secret spoken word collective to produce our second theatre sell out show of the same title in 2009. Now he is exploring new territory, with the publishing of his first book, providing much needed perspective on the relationships between various peoples of Afrikan heritage, separated and re-imaged by various aspects of the colonial experience, now reunited in the land(s) of the colonisers.

This is no doubt a touchy subject for some. One that evokes all manner of emotive ideas. But this poet is no stranger to controversy. Few Black men would attempt to tackle the issue of black male, female relationships with the level of analysis, emotional honesty and self-reflection present in, Season of Lost Love. By the same token, few have sought to present this hot topic of black intra-identity conflict, in the form of productive discourse, contextualised by history, yet still very much rooted in personal experience.

This is the challenge that TuggS.T.A.R. has set himself. In truth, his critically acclaimed piece, Generation Change lays the ground work for this new offering. Providing much context for a generation, whose culture continues to dominate the popular market, but whose identity remains plagued by much of the same unresolved questions that faced their predecessors. Add a dose of mass commercialisation to the mix and seems that Afrikan / blackness is pervasive in every arena, but lacking the rooted-ness that might make it meaningful as a self-determined force in the world. Somebody has to step into the confusion and try to present some clarity.

What is the difference between “Africans & Blacks”?

I come from the Peter Tosh school of thought. If you are black, then you are an African. But living now in Canada and being a lot closer to the epicentre of American thought I am getting an insight to the bizarre belief that there is a difference in the minds of many, that Black people and Black culture is reflected by those of the diaspora. Those who are the offspring of the enslaved. The Africans are those that directly come from the landmass of Africa. Brother, this is a question I could literally write a book about… but the seed of this book came from the first episode of BLACKISH where Lawrence Fishbourne says “We ain’t African we are black, African people don’t even like us.” It was the “WTF” response that began the journey to this book.

Is the black British experience explored enough in literature?

I once had the pleasure of interviewing Chuck D. He said during the interview that he believes blacks in the UK were better placed to lead the diaspora than black America. He said America is world dumb and black America world dumber. I was confused because of the African-Americans I had been inspired by. Only now do I understand this better. The black British experience is not a glossy sexy advert, whereas the African American experience is almost like a glossy Hollywood movie and everywhere else is the independent film. As a result, people do not seek our view, our opinion, we don’t even do it ourselves. The reason I wrote this book is that I realised my insight as a black person in Britain was unique, I had to assert my experience, I realised a lot of the conversations back and forth I was seeing between black America and Africans was the nonsense that went back and forth in the 80s and 90s between Caribbeans and Africans in the UK.

To what extent is the division between Afrikans & blacks in the UK real or imagined?

Growing up in the UK it was real for me. The African experience in Britain was marginalised. I used to think I was the only African in the UK. Africa was so uncool, we were the butt of jokes, the cheap laugh. A lot of us ran away from that. There were people I went to school with I didn’t realise were African until years after school. The authentic black experience was Caribbean, and a lot of us (Africans) had a complex about this. It was seen as an expectation as a black person to understand Patois, or do a Caribbean accent. I used to go on like I understood ragga, but I had no idea what was being said, which made me feel I wasn’t black enough. Though later on in my school years I would meet more people who were actually African and we would share similar experiences. As I grew older I took my baggage with me as someone that believed the division was still deep.

It wasn’t actually till I had a conversation with you, about my nephew coming to the UK from Ghana and I feared he would be mocked in school because he was an African and you told me that stuff doesn’t really go on anymore. I thought you were romanticising the conflict. Soon after, I began working in a school bordering tower hamlets and Hackney and realised you were right.  African and Caribbean kids were totally cool. In some cases, the African children outnumbered the Caribbean kids. It wasn’t based on a great understanding and knowledge of who they were. It was that what they were was not a barrier to them being cool. Caribbeans were able to do African accents, use some words, eat their foods and vice versa in a truly friendly manner.

But now being in north America, we as Africans in Britain need to assert ourselves and our experience on the world stage. In the area of African relations, we are advanced. Think about it, the arrival of Carribeans in Britain preceded the en masse arrival of Africans ten years later. Where else in the world did Africans and descendants of enslavement begin mixing this early en masse. I am not saying Africans were not in America, or France. I am saying that an en mass an ongoing meeting between these distant cousins. A meeting which began somewhat contentiously between people who didn’t really understand each other. Whose children began to mix, form relationships, kinships, brotherhoods, spouses, children. It’s not uncommon to hear, I’m half Jamaican, half Ghanaian, half Bajan, half Nigerian. What insight does that provide us. I am not saying we live in a utopia, but we are a lot better than many other places around the globe and we shouldn’t be afraid to speak on it.

Is there anything about your experience that gives you a unique perspective from which to write such a book?

This is where I sound arrogant, but as a poet, I only began doing poetry because I felt no one was speaking about the things I felt needed to be said.  I have a line in my poem that says, “if no one wants to say it, then you know what I’ll say it!” and I swear by that. My parents came to England from Ghana a bit before the influx of African immigration. They came as students, so my birth as an African in Britain felt a little more isolated. My black experience was with predominant Caribbean young people. Though my Black education was from the conscious African-American voices that came through politics, through music and my introduction to Pan-Africanism was through them as well as the Caribbean Pan-African groups that began to sprout up through Britain.

I was deeply influenced by this, and shape my ideas with the culture that was being passed down to me by my parents, grandparents and Ghanaian family. In university, I majored in history and international studies, but by now my perspective on history had already a strong foundation and university just enabled me to build upon it and not be shaped by what they were teaching. Every part of this journey has provided important building blocks into giving me the authority to write this book. Even with that, I do say it’s an introductory guide, I know there is a second edition that needs to be done.

Does being a poet make it easier to write a book?

The experience I mentioned above made it easy writing a book. But having said that perhaps it made me think about the flow more, think about the audience more. I don’t know, many non-poets write books and perhaps not enough poets actually write things other than poetry books. I do hope there is a poetic rhythm that subconsciously helps people read the book to the end. But that was not a conscious endeavour.

Go to Amazon to purchase your copy of The Secret Relationship Between African & Blacks! Understanding the conflict between Africa & its Diaspora 

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This production quite simply exceeded all my expectation. I entered the arena with high anticipation, having previously had the pleasure of interviewing the main men behind Boy Blue Entertainment. I was told poignantly by Mikey J that I would have seen nothing like it. He was correct.

The Five & the Prophecy of Prana is such a cohesive fusion of art, genre and narrative, when you consider all three dimensions in unison, it’s hard to find too many flaws in its execution. From the music, the choreography, the set/graphics, narrative style and even the over dubbing dialogue; everything lending itself to a Hip-Hop, Martial Arts, Manga epic, which is exactly what the creators set out to create. Even the architecture and décor of the auditorium seemed to have remoulded itself in service to the show.

From the very beginning, The Five is brought to life by a strong storyline and distinguishable characters. You are immediately impressed by the animated graphic elements and how they bring the cinematic comic book feel to life. Effective use was made of the classic over dubbing style, well known to English speaking lovers of Kung Fu movies. Having become such a standard device, the dubbing lends a strange authenticity to the show, while its comedic effect makes it a particularly endearing feature.

Indeed, the dialogue is strong, but the strength of The Five is the dance which carries the narrative. As a man of words, I was struck by how easy it could have been to piece together each scene with dialogue. That realisation lead me to truly appreciate the efforts that must have gone into making sure the dance, as opposed to the dialogue, told the story. Hip-Hop dance and Martial Arts in many ways share a natural synergy. But the utmost credit must go to Kenrick H2O Sandy for the sheer brilliance with which he has made this manifest. The choreography merges the two styles in such a way that by the end it becomes difficult to identify the distinguishable elements.

Through it all, the narrative remains extremely prominent and particularly strong. This is not a thin, under developed storyline designed purely to display some excellent dance routines. The narrative is driven by every movement, every scene, every routine – nothing is wasted. The journey of The Five from young delinquents to Kung Fu masters is especially well dramatised. A fine expression of both synchronicity and individuality as each character is developed enough to leave their own mark on your consciousness as you watch the story unfold.

Special note must go to the efforts of Mikey J for the soundtrack to this show. Considering the show is 90% movement, the string which holds it all together is the sound. Mikey has composed a fine array beats, melodies and sound effects that completely harmonise with the prominent genres. A seamless fusion of Hip-Hop, Traditional Japanese/Chinese string and even a touch of Afro-House are brought together with great cinematic brilliance. The music is its own beast. Far from being mere back ground accompaniment, before the stage set, it is the rhythm and sound that primarily moulds the scene, and creates the world that this story exists within. I would seriously encourage the purchase of the soundtrack CD available at the venue.

Personal standout performances include the central character, Wang Tang played by Tommy Franzen, the snake style of Soo Lin and Kofi ‘Klik’ Mongo’s absolutely masterful Hip-Hop interpretation of the Scorpion style. Any scene featuring Wang Tang and would be nemesis Choo Fang in battle makes for epic viewing.

But to say that is almost an injustice, because in truth, The Five is an exceedingly well cast show. Each performer is evidently a master practitioner in their craft and great respect must go to each them individually and collectively for what was brought to the stage. Wang Tang’s Drunken Master, and a very creative routine in which Stylouse (one of The Five) is battling ‘The Ghost’ are excellent. But the most visually striking scenes feature almost the entire cast in unison, particularly those depicting the journey of The Five.

The narrative style is very thorough, some viewers may find it taxing, which in truth is completely in keeping with the styles the piece so delicately emulates. This was unapologetically deliberate and if you are prepared to stick with it, you will be rewarded. In some way, this is easily done as the show would have been impressive if it were just a series of dance routines.

But it is not. It is the Five & The Prophecy of Prana.

The last London performance of Five & The Prophecy of Prana before it goes on tour is Saturday 4th October 2014. To book tickets go to the Boy Blue Entertainment website.

Read TBB’s interview with Boy Blue Entertainment founders Mikey J & Kendrick ‘H20’ Sandy here.

Boy Blue Entertainment are set once again to make their mark on the development of Hip-Hop Dance Theatre in the UK with the staging of their forthcoming production, The Five & The Prophecy of Prana at The Barbican.

Founded by Kenrick “H20” Sandy and Michael “Mikey J” Asante in 2001, Boy Blue have stood at the forefront of the street dance industry, most notably hailed for their adaptation of the poem, Pied Piper. Since then they have gone on to choreograph for Jonzi D’s Breaking Convention, the 2012 London Olympic Opening Ceremony alongside Oscar winning filmmaker Danny Boyle and artists Dizzee Rascal and Alexandra Burke to name but a few.

The Five and the Prophecy Prana, sees the duo push their own creative boundaries further as it is their first entirely self-written piece. This monumental production is a fusion of Hip-Hop Dance, Shaolin Kung Fu and Manga style narrative, set around the lives of a group of troubled youngsters and the attempt of a mystical would be mentor to guide them along the right path. Just the concept sounds exciting enough, prompting me to ask the question:

What was the spark that inspired the creation of this show?

Kenrick: When it comes to us creating work, sometimes creativity can come from jokes and fun, we could be there just chilling having a joke. I’d say one of the main stimuli was this drawing that I did of a Black martial Arts character called Wang-Tang. But his full name was supposed to be Wang-Tang Fooey. So originally Wang-Tang is kinda from Wu-Tang and the working title of the show at first was actually Wang-Tang Fooey.

Mikey J: Yeah but you know Won Ton soup? When we were dealing with the Japanese, one of our Japanese collaborators was like “I think that people are gonna get that mixed up with Won Ton soup”. So we changed it [Laughs].

Kenrick: So it came from a picture and there’s this character that was just there. Me and Mikey have always been inspired by Manga. We used to watch Manga; draw Manga when we were in school. So it was like, we can create this 3D-4D kinda comic book on stage and we can create these characters and we can have the animal styles and look at the different dance styles and incorporate the dance styles with the animal styles and hopefully we can get some sessions with Shaolin Monks… We got the sessions with some Shaolin Monks. We learned the Shaolin Martial Art Kung Fu stances and everything. We stared to mix and blend their moves to movement. From a dance point of view, you don’t have your script. You have your routines, your ideas and you have your 5, 6, 7, 8’s. So we had to write a script…

When you got to the storyline aspect of it now, how did you go about developing that?

Mikey J: It was a few things. We obviously wanted to make a Manga, so the idea that came into the brain of Hisashi [Japanese consultant] was that we should find someone who’s out there who does Manga stuff to come and talk with these guys. So he brought this artist called Akio Tanaka. But then funnily enough, the way their system works is that you have the artist, the person who draws and then you have editors who kinda figure out the story. So initially when we put down our ideas of what we wanted our show to be, and we sent it to them, he was like “Nah –  this is not Manga”. So then he hit us back with what Manga is. It made us understand that our storytelling had to be a little bit more unique; you’ve got the western way of telling stories and then you have the eastern way of telling stories.

After immersing themselves in the Japanese Narrative style; a process both admit was a challenging, but extremely rewarding experience. They began sharpening their scriptwriting skills in dialogue and character development. The aim was to evolve the entire story full of depth and layers; then relay it in a manner inspiring the ultimate suspense. Ironically, they were in tune with the culture they were emulating. Whilst Manga begins with visual arts to develop a story, Boy Blue use Dance & Movement as their visual motivation towards developing a fable. It becomes apparent that Kenrick and Mikey create and teach for a purpose. As well as artistic excellence, they have ideas to impart. This realisation lead me to me to ask:

I have read a bit about the storyline. Was there an intention to make it relatable to this present generation of young people?

Kenrick: I think so. With great power comes great responsibility. Wang Tang has this power, and in the story, he falls from grace. So this is an opportunity for him and a responsibility for him to push this next generation. It’s about people who are in bad places, finding a light and developing themselves to be the best – To be better. With the five-young people Wang Tang is dealing with, all of them are on their last straw when it comes to the system and with regards to the law. He’s looking to bring them into a better space. Comparative to what’s happening right now. Young people today need more mentors to help push them to a better place. So for us, we promote for young people to come and see our shows ‘cos in our shows there is this underlining thing. Whether it’s a theme or a concept or whether it’s the way that we work and the outcome of our work. It’s always about giving people aspiration.

Why should people come and see this show?

Mikey J: Listen! You need to come to this show because we’ve tried to connect a full show of music, sound, Manga moves; fusion with what’s happening on stage and what’s happening with the projection. It’s a total package, and you ain’t gonna see anything like this; something that’s gonna be powerful, energetic, fresh and new.

Kenrick: I would say, there’s always an expectation for what Boy Blue brings. The show is something I believe, for other dancers to support other dancers. Performers support other performers; artists support other artists in pushing the scene. Especially Hip-Hop theatre. It’s opening up and it’s becoming a big thing now. Now this is an opportunity for you to see what we’re doing and for you to bring it. If everyone has that mentality there’ll be a whole lot of freshness round here.

The camaraderie which exists between these two brothers is evident and certainly the backbone which keeps Boy Blue standing. Mikey & Kenrick are set to blow up stages all over the world with The Five and The Prophecy of Prana. Special features for this run include a matinee, featuring routines from the young students of Boy Blue and an after show jam for those who want to vibe with the cast and crew.

Whatever heights they may reach based upon the excellence of their output, the ethos of Boy Blue is to remain dedicated to the art and the positive messages  they’re in.

A line from Kenrick, that Mikey vows to place on a T-Shirt one day, sums up the spirit of the work and the mission of Boy Blue:

Kenrick: It’s not about the fame of today – It’s about the legacy of tomorrow!

The Five & the Prophecy of Prana runs across the UK from 2 October – 15 November 2014
For tickets and info visit The Five Tour.

Read TBB’s #OutOf100 review of the show here.

If ever there was a Godfather of UK Soul, few would deny the right of Omar Lye-Fook to hold the title. In fact, the biggest contention is likely to be that “soul” is too limiting a term to define the music range of this undisputed legend.

Since 1991, Omar has blessed us all with consistent quality; 20 years and seven albums in, he shows no signs of losing either authenticity or innovation. The quintessential artists-artist, Omar has the uncanny ability to not only be original but evolve within his originality, developing on a style that is distinctly his own. While following none of the popular trends that define the current climate, his music always seems to remain fresh and relevant. Omar does not try to “appeal to the kids”, but somehow manages to impact every generation, often providing the necessary inflections to break the monotony.

His last album “Sing If You Want To…” (2006), was a resounding success and formidable follow up to the highly acclaimed “Best By Far”. Ever since, dance floors have not stop rocking to the sounds of “It’s So”, earning the worldwide embrace of ambassadors for UK Funky, while strictly speaking, not belonging to the genre. Amidst the fast pace, ephemeral nature of today’s hot-for-the-moment culture, here is a legend that makes music to last.

While many ardent appreciators may bemoan an apparent lack of vision on the part of record companies in promoting such an artist, industry woes have never affected his output. So after a seven-year hiatus, the June 2013 release of Omar’s 7th album, “The Man”, was greeted by sighs of relief and anticipation. True to form, the Godfather has not failed us.

A string quartet accompanies that familiar voice, perfectly announcing his return as the album gets started with “Simply”. As though to present a beautiful paradox, this declaration of love carries a depth unfamiliar to your Top 10 chart hits. The live band accompaniment simultaneously tunes the ear and piques interest for what is on offer.

In truth, this album gives us the best of Omar with just that little bit more. A fact which aptly signifies the apparent theme throughout this album – Maturity! This ideal is best expressed by the title track “The Man”, in which Omar addresses the distorted perception of Manhood as he reflects:

“I’m thinking ‘bout some things I’ve done when I was so wild. Some things that I should not have done just trying to be the man”

The reflection concludes in the contentment of discarding such perceptions in order to“become a man” in the process. The theme is well expanded upon as Omar implores you to “Come and Speak to Me” – a song specially catering for the lyrically inclined. Well placed use of a double base adds thickness to this otherwise masterfully minimalist musical arrangement, providing a nice taste of the ambiguity of genre we have come to know and love from this innovator.

Omar is well known for discovering uncharted synergy between musical styles and it is this that makes “Bully” one of the standout tracks on this album. “Bully” comprises life lessons imparted over a riddim that may best be described as Ragga-Jazz. Accompanied by the turntable skills of sibling Scratch Professor, here is a tune that may inspire one or two rewinds before you can move forward with what is to come.

Once the wheel-an-come-again moment subsides, the legend that is Caron Wheeler (of Soul II Soul) appears for the aptly entitled “Treat You”. The attentive will recognise the basic elements of this arrangement from “Lift Off”, the intro-track for “Sing If You Want To”, providing a welcomed completed version for one of the many snippets of grooves sprinkled throughout Omar’s albums.

Then we have “F**k War Make Love”. A Philly Soul intro evolves into unadulterated infectious FUNK, accented by the defiant lyric “I don’t wanna play by your rules- Nothing to gain, nothing to lose”. Merging self reflection & social commentary, the vocal is so smooth that you have to actually read the track listing before you realise he used an expletive.

“High Heels” is an experimental Jazz piece that provides a refreshing take on my girl likes to party all the time theme – another standout moment. And while many would advise against redoing what is already a close to perfect song, Omar gets away with it as he presents a reprise of his timeless classic “There’s Nothing Like This”. Beautifully embellished by horn & string arrangements, the 20th anniversary of its release is celebrated in fitting style.

The 2 step massive are well catered for with “When You Touch We Touch”, right before Omar summarises the thread that ties this body of work together, providing a glimpse into what has inspired the strong sense of focus and maturity emphatically evident through “The Man”;

“…. Now that I got 2 babies of my own, gives me purpose learning to teach the way right. How can I be useful to show the way to the light…”

Fatherhood has definitely had a positive impact on Omar artistry, giving birth to what is undoubtedly one his strongest, most cohesive releases to date. The importance of his life developments placed centre stage as the 1st page to the album inlay features the father of twins surrounded by his family. The album itself allows you to feel this growth, and wills you to bask in it with Omar himself.

“There’s Nothing Like This” is not just the title of Omar’s debut album, it is the phrase that best describes his artistry. And with this fine addition to an already prolific catalogue, one thing is certain, Omar Lye-Fook is most definitely “The Man”.