“Katharine Hamnett gives ‘Liberty’ to captivating SS18 collections!”

Nights like this should not be reserved for sleep…

… Not when you have had a meeting of minds, hearts and souls on monumental scales…

…and all in the premium package of the eagerly-awaited launch of Katharine Hamnett London’s SS18 women’s and menswear collections…

It takes someone truly revered to draw a crowd such as congregated in the hallowed halls of Liberty London’s lower ground floor. Place “Katharine Hamnett” into a sentence with a bona fide, high-end retail treasure of this great capital, and, together, you have the cadence of perfect creative alchemy, epitomising Balance…. Harmony…

….which neatly summarises the most captivating capsule collections of dreams… (that is, if I were to succumb to sleep!)… However, as stated, tonight is not one for repose, of any kind!

Having arrived early, it is still a veritable hive of organised activity… From re-merchandising to maximise optimal exposure of every piece, to hoovering the most out-of-the-way corners, nothing is left to chance, in achieving the flawless, final look. To say that the hard work paid dividends, would be a vast understatement, for the mission was more than accomplished!

 I am cordially-greeted by Janine Constantin-Russell, General Manager of Liberty, and immediately taken aback by her generosity of time taken out of overseeing the build-up, to talk all-things “Hamnett” with me! Even more delighted was I, to be conversing with this lit-from-within energy, herself as excited as I was about the need for such a grounded presence to be back, once again, so rightfully, front-and-centre. Sparkling with expressiveness, vis-à-vis collaborating with the prestige label on such an auspicious launch, Janine encourages my taking a tour, to see the gorgeous results for myself and so, I promptly set off on my voyage of discovery!

In an atmosphere replete with swirls of hiphop-jazz, my initial walk-through to get acquainted with the latest sartorial offerings from the living legend, synonymous with ubiquitous style, was like a fresh breeze through the beautifully-landscaped garden of menswear. From Lanvin to Loewe, Thom Browne to Burberry, Marni to Moncler, Hamnett’s re-entry into the design atmosphere is rife with delicate defiance, in the swish of one organic silk shirt.. or the sharp swoop of a billowing, full-length, draped dress.

Slogan Tees are refreshed, with hard-hitting, visual exclamations to address the “now”, such as “Protest And Survive” and “Women Against War”, bringing to an end the misconception that silence is easy… As Katharine so eruditely put it, “We have to up our game, as we aren’t achieving very much, considering the amount of man and woman-hours that have [already] gone into fighting.” In accordance, both collections are steeped in revolution and the messages carry as confronting a narrative, as the days in which 80’s pop phenomenon, “Wham” boldly proclaimed “Choose Life”, whilst gleefully waking up musical empires on both sides of the Atlantic!

That the collections should be so deeply-embedded in such a spirit of the indomitable, should come as no surprise. It is well-known that Katharine Hamnett has always been ahead-of-the very same game, socio-politically, economically and creatively. Her battle to imbue the fashion system with the plausibility of sustainability and fighting for the human rights of those within the supply chain of production… has been her clarion call… Her voice has continually chimed through the annals of design to a point, whereby, ethical practice is, now, beyond an intangible vision and is an actual, going concern.

Enthusiastically-steered through a fascinating life story, filled with industry anecdotes of both, the glamour and the grit, by British Vogue’s esteemed Chief Critic, Sarah Mower MBE, who was pristine in Celine, the fact that “it all came too easily” was a testament to the authenticity of truth which runs through Hamnett, like a rod of iron. So-much-so, that she could be the real ‘Woman of Steel’, what with her proverbial determination to change the world-at-large, by changing the world around her.

Recounting, at blistering pace, that her production process is “paraben-free, [with] no heavy metals”, is just the preface to an inventory which includes organic cotton, “certified by Diamond Processing” standards, silk, which is “about as clean a fibre as you can get”, “nickel-free zips, [because] nickel is poisonous” and an endless quest “to find more sustainable fabrics, as techniques develop”. Further insight into her supply chain being the “Made In Italy”, export route, affords her the opportunity to “stick [her] nose up to anyone who talks about trade”, in addition to promoting and benefitting from their artisanal passion, “know-how, legacy and technical expertise.”

The superior quality of craft on display in the exposition of her new season selection, is undeniable evidence of this specialist provenance. From the considered nature of precision-pleating, on the wide-legged khaki trouser, with double-buttoned front and notched-back waistband, with slim-leg, ankle-skimming lengths, the wondrous working of a tissue-fine silk shirt, with an, ever so gentle, high-low hemline, to the perfectly-tempered palette of lightning white, through super-jet black, energised by richest reds and texturised by stonewashed denim treatments, the Katharine Hamnett man is spoilt-for-sophisticated and understated choice!

This same exacting, yet, polished prowess is celebrated in a Katharine Hamnett woman, who is savvy, edgy and endlessly elegant. The slogan “Maggie” Tee, which was fabulously-styled and modelled as a T-shirt dress, will fast need replenishing upon the rails, as will the stunning gold jumpsuit and, my personal favourite, the floor-sweeping, fire-engine red, puff-of-a-gown, with deep, plunge-front and back neckline…as ready for the red-carpet, as for the beach-front after-party!

It is all as impressive as her unconditional covenant to create, in order to benefit the greater good and embolden others to, similarly, make their voices heard. In a time of “freefall manufacturing, cheap labour and bad labour”, the crusader for social justice entreats the amassed assemblage of admirers to put literal pen-to-paper and compose letters to those who are paid to represent us, as well as to those brands who could and should make vast improvements, with regard to recognising and lessening the negative effect of their ethical footprint upon, both, people and the environment. “They’re trying, but they should be trying harder and faster”, not only summons affirmatory nods, but also gives rise to further adoration.

Questions from the floor prompt reiteration of the Katharine Hamnett stance towards making sustainable fashion more affordable and accessible… that of “better prices, with bigger production… online [to avoid extra capital costs].” However, it is her vocal nod to the lengths to which award-winning proponents of the circular economy, “Rapanui Clothing”, will go, in order to manufacture and deliver her T-shirt lines, which seems to, most, touch those in the room. Describing the “adorable” enterprise as “a perfect prototype of a C21st company, based in the Isle of Wight” is high praise, heartfelt recognition and truly symbolic of someone who “collaborates with anything that’s exciting or touches [her] heart.”

It is also indicative of her humility.

She seems oblivious to the attention which revolves, tornado-like, around her.

Absorbing selfies with timely patience and grace, she is pure, radiant class, with the spirit of a lioness, within the physique of a prima ballerina. Effortlessly-chic in black-out shades, nothing looked cooler than sharing a camera-frame with her, nothing more inspiring than observing her, back in her artistic habitat…

…and whilst her name might end “CBE” (Commander of the Most Excellent Order of the British Empire), when asked the final question of how she would like to be remembered, she pauses and, with what must, surely, be accompanied by a twinkle in her concealed eyes, she cheekily replies “Watch. This. Space.” I, for one, cannot wait to see what this visionary next devises but, in my heart, I believe that the acronym will signify the success of her unrelenting message and stand for ‘Choose Buying Ethically’!

 

©A_F_R_O_W2018-2019. All Rights Reserved.

***

Katharine Hamnett London ~ Katharine Hamnett (Facebook) ~ @katharinehamnett (Instagram) ~ @khamnettlondon (Twitter)

Liberty London ~ Liberty London (Facebook) ~ @libertylondon (Instagram) ~ @LibertyLondon (Twitter) ~ Liberty London (YouTube)

Rapanui ~ Rapanui (Facebook) ~ @Rapanuiclothing (Twitter) ~ Rapanui: Sustainable Fashion (Google+) ~ @rapanuiclothing (Instagram) ~ rapanuiclothing (Pinterest)

Sarah Mower MBE ~ @sarahmower_ (Instagram)

***

Wholehearted @A_F_R_O_W-Appreciation goes to Katharine Hamnett CBE, for her utterly impeccable collections, relentless inspiration and unswerving passion for contributing towards a better world…to her team at Katharine Hamnett London, who faithfully facilitate her creative and societal vision, to Janine Constantin-Russell and the absolutely fastidious Team Liberty, for extending such congenial hospitality and creating a truly unique and outstanding event, and to Sarah Mower MBE, whose lively repartee and unabated dedication to the quest for talent, catalyse that of my own, ongoing editorial development.

 

 

‘TriForce Short Film Festival’ Tri-umphs!

So here’s the thing…

I have had the enduring privilege of being invited to some of the most fascinating events… You’d think, therefore, that I would be used to the build-up…Used to the checklists, verifying the wardrobe, charging-up the tech (and the back-up memory)…But the night before my first ‘TriForce Short Film Festival’, I was a flurry of excitement…a whirligig of anticipation…a New Year bonfire, just waiting to rocket into the a new creative atmosphere!!!

I couldn’t sleep, for all of my pre-performance giddiness…and I loved it! Thus, on all of 5 hours stillness, because I couldn’t drown out my thumping heartbeat, I Fosbury-ed out of bed, with first-day-at-school vigour… utterly ready to get into my prêt-a-porter, Festival mode, chomping-at-the-bit to record this amazing moment!

Destination: BAFTA.

My journey was seamless… The skies were crystal-clear blue, the air, icicle-fresh…the public transport, compliantly on-time! I reached Green Park a full hour before show-time…well, I did say, I was excited, didn’t I?!)…which gave me precious time to indulge in looking at Piccadilly, truly seeing the stunning architecture which our beautiful town has to offer, as well as hearing the vivid, criss-crossing sound-waves of a.m. life.

With such engagement, I might have walked a bit beyond the hallowed building… Okay, so I did(!)… but, on turning back, my curiosity to look above entrances for the cornucopia of Christmas adornments, flounced like scalloped-edged skirting, took my gaze to the BAFTA mask, in all of its glory…

I sent an internal text from heart-to-head, that the passenger-carrier of ‘me’ had successfully transported the passenger of ‘me'(again) to the desired point of disembarkation! (By this time, a little less than an hour early…though, no less full-of-beans!)…

Deep breath in… I entered…

To the left, a welcoming-hall of mirrors and a delightfully well-dressed tree….a stylish elevator and signs, which read like the New Year’s Honours List, to every dedicated floor…and, en face (literally), the face of the BAFTA insignia, announcing you ascend the stairwell-to-an-artistic-new-world… walls scattered with quotes from such luminaries as Mark Rylance (who has since been given the nod with a Knighthood!)…

By now, I would have been a wreck, were it not for the fact that absorbing the winding-wisdom, had much lulled my adrenalin levels, which was a blessing, since the next Crystal Maze-like task was to speak! Having successfully utilised my five seconds and nailed remembering who I was… I took my place within the space, The David Lean Room, to be exact… Loving every square metre of its thespian fabric! It would, categorically, be the perfect theatre of operations…and all ours for one glorious day…and eve!

As if applying the soft luminescent makeup for a perfect headshot, sunlight streamed in from Piccadilly and, as I heard the delectable Minnie Ayres breathe a hearty welcome, was introduced to the amazing TriForce Team and confirmed interview, I began to take baby steps around my new home! No sooner had my exploration commenced, than Jimmy Akingbola appeared, putting paid to my momentary oasis of calm, due to enthusiastic discourse about the event!

Forget the steps, I was like a Jackie-out-of-the-box, and as I rounded the corner, began acquainting myself with partnering organisations, who I quickly ascertained were absolute bedrocks of the Creative Industries. From ‘The Institute of Videography’ to ‘BECTU’ to ‘Creative Skillset’ and ‘Mama Youth Project’, each and every one had, at its foundation, the mission of resourcing creatives to live their dreams and continue to follow them, since there were avenues to facilitate them at every stage. Having gained an invaluable amount of knowledge and as seminar attendees arrived, I could only imagine the personal narratives that they would be taking away with them…

So thought, so announced… Seminar 1 was about to take place….and yes, I was that one who had all of her coloured biros at-the-ready, copiously taking Pantone-esque notes (from the frow, naturellement!)…and, thank goodness for the London Design Biennale Leuchtturm1917, which was still going strong from September, as, with each discussion, it soon became perfuse with a spectrum of words!

What a profound collection of contributions were made by Baff Akoto (Director) and Shola Amoo (Writer/ Director), regarding the ups and downs of surviving as a Freelance Director and the journey of funding a feature, from Camille Gatin (Producer), Dionne Walker (Writer/ Producer), Kristen Irving (BFI Development Executive)… Each session urging listeners to know their identity as film-makers and look to cast their creative nets as widely as possible, in order to catch the necessary finances!

Interspersed were all shortlisted films and finalists, themselves, pockets of dynamism and unswerving examples of artists (in front and behind the camera) who knew exactly who they were and what their objectives were meant and made to be. In the collective time of less than a full-length feature, attendees became audience members, taken on evermore perpendicular emotional and visual Big Dippers!

Amongst the awesome entries were ‘Take The Chocolate (Don’t Give Up)’, which was a charming window-into-the-world of sharing and caring, between children, whilst ‘Harriet and the Matches’ was a marvellous, if not subliminally disturbing, combination of animation and reality! ‘I Believe In Pink’ caused universal intakes of breath, on observing the painstaking tattooing of the lips of Lagos men in the most fuschia pink hue, so as to be socially accepted… ‘The Dead Sea’ evoked raw tears and anger in many (including myself), as we witnessed, in stark detail, the sheer, inhumane cruelty of migrant detention centres… The poignancy of ‘Glow’, told through the lateral-thinking of four best friends, who devise a way to take the cancer-stricken member of the group to see the Aurora Borealis, meant film and title were bound in cinematography and significance. The final three would go on to win ‘Non-Scripted’, ‘People’s Choice’ and ‘Best of the Fest’ Awards, respectfully…and deservedly so!

Whilst the last seminars covering walking-the-walk of diversity and working across both Film and TV genres ensued, I had left the fabulous screening room and was back at home-base, in order to interview Minnie and Fraser about the entire venture. Each wonderfully complemented the intel of the other – she, with the latest news and live stat updates, that they had exceeded the previous year’s attendance figures, he, regaling the deeply intense desire to be ‘an experience company’ and what that would entail as time went by…. They dovetailed seamlessly, not only as integral parts of the TriForce Team, but also, as an incredibly inspiring creative couple.

On that note, as members of the daytime schedule flooded back in, I absorbed the wave of anticipation for what was to come, before heading off to Mayfair, to collate, pontificate, ‘check the gate’ (which was good!) and make ready the next slates for scenes two and three, namely, the Awards Gala and Afterparty at Century, Soho!

***

Past midnight…(and then some!)… I emerged from the club, having danced one of the coolest ‘Electric Slide’ formations in a lo-o-o-o-ng time, completed the Mannequin Challenge, held lively chit-chat with an assemblage of artistic brilliance and laughed until I cried with them, too!

In any other situation which leaves me speechless, ‘no words’ would be my chosen phrase. However, I had been veritably embraced by them, and substantially more, during such felicitous hours… That being said, I’ll leave the summation, in part, to Actor/ Director, Xavier Dolan, who says, ‘Filmmaking is something you think alone, but do together’*…

…and complete it by declaring that ‘The TriForce Creative Network’ undoubtedly proves that theory and is ‘Helping People Happen’ by, relentlessly, doing just that!

©A_F_R_O_W2017-2019. All Rights Reserved.

***

Visit TriForce Creative Network for further information about:-

TriForce Short Film Festival ~ TriForce Monologue Slam ~ TriForce Writer Slam ~ TriForce Productions

Visit the following TFSFF/ Industry Expo Partners for more information about their respective organisations:-

BECTU

THE INSTITUTE OF VIDEOGRAPHY

CREATIVE SKILLSET

MAMA YOUTH PROJECT

NATIONAL FILM AND TELEVISION SCHOOL

HIIVE

SHINE MEDIA

*Quote source: CNN Masters At Work 02/12/2016

~

Fervent Afrow-Appreciation to all at TriForce and Premier PR for giving me the opportunity to partake in this truly life-changing experience!

2-4-1 Ticket Bonanza at BFI!

I think it’s time we talked ‘December’, friends!

No, not the fact that it’s the twelfth month of the year, but that it’s time to get your ‘Christmas’ on!!!

 So, heads-up, because December’s BFI schedule is bursting-at-the-seams, like a well-fed guest, post-Christmas lunch!

With personal appearances from Danny Glover, Sir Lenny Henry and Ashley Walters, to a Desmond’s cast reunion featuring Trix Worrell (Creator-Director), Carmen Munroe and Robbie Gee…From fantastic panel discussions on such topics as the concept of Black Beauty in cinema, to chances and challenges for BAME artists within the entertainment industry…PLUS screenings, screenings, screenings and MORE screenings spanning classic comedic turns from Eddie Murphy in ‘Beverly Hills Cop’ to the feelgood melodrama of ‘Waiting To Exhale’…bases are covered for film-buffs-to-fashionistas-to-first-timers!

Now here’s the cinematic-science bit!

 To redeem the 2-4-1 ticket offer, you must quote ‘STAR241’ when booking online, in person or by phone (020 7928 3232). The code CAN be used more than once but the offer ONLY applies to the purchase of two tickets for the SAME film. The offer EXCLUDES previews and special events.

For Under-25’s, it’s £3 on-the-door at BFI Southbank, for any film, at any time (including previews for new releases and big-screen classics)!

Just click-thru  below to add to the reason-for-the-season this ‘Giving Tuesday’ and get some early gifting sorted!

Enjoy!

~

BFI BLACK STAR DECEMBER SCHEDULE

Under 25’s Tickets T’s and C’s

(Ticket Offer information and T’s and C’s correct at time of going to press). 

©AFROW2016-2019. All Rights Reserved.

To Nollywood…and Beyond!!!

If ever there were a time to discover the wonders of Nigerian Cinema, it would be now!

Having spanned film-making from its colonial era through to the present day, the sector, more affectionately known as ‘Nollywood’, has steadily risen in global influence, both creatively and financially, to become a record-breaking, billion-dollar industry.

Today marks the eagerly-awaited arrival of ‘Beyond Nollywood’, an eclectic three-day programme representing the BFI’s ever-popular strand of ‘African Odysseys’, specially-curated by Nadia Denton, author of ‘The Nigerian Filmmaker’s Guide To Success: Beyond Nollywood’. Beautifully-amalgamated into the current ‘Black Star’ Season of screenings and events, the weekend delivers a tantalising selection of top-tier cinematic talent, scaling diverse genres and themes, showcased in back-to-back UK, European and World Premieres. (Of particular note is ‘I Believe In Pink’, directed by Victoria Thomas which, only last week, was announced as a ‘TriForce Short Film Fest’ Finalist).

As ever, with BFI schedules, the events won’t be all ‘show’! A one-off ‘In Conversation’ with acclaimed Nollywood actress, Nse Ikpe-Etim and Film-maker/ Director Q-and-A sessions with Abba T Makama, Tope Oshin and more, will offer the opportunity to delve further into the process from script-to-screen… and there will be the chance to revel in some sweet Afrobeats in the Riverfront terrace!

Now if that isn’t something to tell everyone about, I don’t know what is!

Enjoy!

©A_F_R_O_W2016-2019. All Rights Reserved.

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African Odysseys present: Beyond Nollywood runs from Friday 18th November through to Sunday 20th November at BFI Southbank as part of the BFI Black Star Season. Click-through for tickets and times!

#BFIBlack Star   ~   @BFI

INTERVIEW: “A 2014 SPACE ODYSSEY, WITH KEIR DULLEA AND GARY LOCKWOOD!”

…Somewhere in deepest Londinium, a truly unique event was about to begin…

The Mission:

To join a select group of journalists, for a ‘Q and A’ session with Keir Dullea and Gary Lockwood, star protagonists of Stanley Kubrick’s legendary cinematic opus, ‘2001: A Space Odyssey’.

…Undoubtedly, I had enthusiastically chosen to accept, and yet, somehow, I could not dismiss the overriding feeling that the stars had aligned and the opportunity had chosen me…

Arriving early, I took the space and time to dwell upon the imminent proceedings. Only in November had I disembarked upon my journey with the blockbuster movie…and now, I was installed in a low-lit, BFI Southbank Studio, sharing a front-row, replete with male counterparts, conversing about Kubrick’s created world and the chance for further enlightenment thereof, with the giddy excitement of a child, about to unwrap a plethora of gifts, on Christmas morning!

Our expedition ‘Captain’ was Rhidian Davis, Producer of the BFI’s hugely impressive ‘Sci-Fi: Days of Fear and Wonder’ Season. Relaxed and congenial, he was also enlivened by the audience response to the scheduled UK-wide selection of events, particularly indicated by all of the “really positive” social media feedback. As he waxed lyrically, the gentle hum of classical music began piping through the surround-sound, in turn, sending my mind through its own wormhole, to the opening sequence of ‘2001’..Seemingly, wherever I went, my world was happily fated to an endless soundtrack, without the need of Soundcloud! Yet, with a topline punctuated, every so often, by the swing of a door, I would fall back into the realms of the present…to darkness falling…to the majestic ‘2001’ trailer…to new voices joining the chorus…and, at its close, to the recognition of the word “Fantastic” being uttered by one particularly familiar American accent…

…That of ‘Dave Bowman’…the one and only, Mr Keir Dullea! (Cue internal applause!)…quickly followed by another Stateside inflection, which (by process of elimination), could have been (and was) none other than ‘Frank Poole’, a.k.a, Mr Gary Lockwood! (Ditto, with the applause!)… In stature, they were the exact opposite! Dullea, tall, lithe, piercingly-bright-eyed, silver-haired, bearded and elegantly-suited, with an air of suave, Savile Row. Lockwood, gracefully-greying, with eyes of warm, deep-set intensity and an imposing silhouette, wrapped in smart-casual attire, signalling the powerful physique of his days as a quarterback and stuntman. Yet, we were to learn that their personalities made them quite the most perfect interview double-act and their arrival had signalled our take-off, into streams of consciousness, run-on lines and priceless memories, which were to become an integral part of my own, and went a little something like this (‘stage directions’ and all!)…

[The room falls into an enjoyable outer space silence].

…Of the premiere of ‘2001: A Space Odyssey’…

KD [Thoughtful. Considered. Bowman-like!]: “It blew me away… Nothing readies you… The ‘Dawn of Man’ Sequence surprised me the most..”

(It transpires that they had seen no rushes of that section, as the scenes were filmed after they had wrapped their own).

GL [Excitedly, as if reliving the moment.]: “Everyone was reading about the hype of the film… but it wasn’t all that well received..”

(Save for the shuffling of a few pens on paper…the room is still, as we absorb their every word).

KD [Glancing over to GL, continuing the thought.]: “…[It] got unbelievably mixed reviews…I began to doubt that it was going to happen [be successful]…Not that it was less of a film…”

…On how they initially got cast…

KD [Measured, with a wry smile.]: “I went to a fortune teller at the Battersea Funfair and the palmist said that he saw a rocketship [in my hand]!!…I returned home and my wife said I was to call my agent…I was told that Stanley Kubrick had offered me the part…but I was also in a play with Laurence Olivier, in London, already…”

GL [Confident. Quickly chimes in!]: “I knew it was over! I knew it would be the job! None of us was going to be in a better part than that! Warren Beatty said ‘They were lucky!’…”

KD [Buoyant.]: “He was right!!!”

(The men look at each other in recognition of two friends having been in the once-in-a-lifetime experience, together. They chuckle along in the moment of nostalgia…Their warmth is infectious and the smiles spread around the room!).

…On Kubrick, himself…

KD [With a real sense of awe.]: “In general, people rave about the experience. Kubrick was so easygoing with us. I felt I was in the presence of genius…He was the most prepared of any director I’d ever worked with. Part of his genius was the way he cast…He cast well.”

(At this point, we learn that prior to ‘2001’, Gary Lockwood was a stuntman and had already been in such epic films as Kubrick’s ‘Spartacus.’ He asked Kubrick why he had been cast)..

GL [With a cheeky glint in his eye.]: “He said, ‘I thought you could do a lot, without doing anything!’…”

KD [Still caught up in awestruck mood.]: “[Kubrick] was the most curious man I’d ever met…”

GL [Bursts into the hushed atmosphere. Continues his thought!]: “People who are really good at something have to have a good I.Q! When the ‘Pentax’ was invented, he gave his daughter the ‘Pentax’ and told her to photgraph everything that looked good. She had ‘the eye’…”

(Recounting Kubrick, increases the momentum of memories, so much so, that the energy behind Gary’s statement somewhat renders it an announcement! The gravitas has us on tenterhooks…)

…Of the movie…

KD [With deep respect.]: “The genius of this film has withstood, generation to generation. What a compliment to Stanley Kubrick.”

(The silence is golden. We all feel the respect. We all agree).

…Of the films, ‘Gravity’ and ‘Interstellar’…

GL [Bold. Objective.]: “ ‘Interstellar?’ It’s not as good as ‘2001’ but there are some really great moments! Symbiotically… all things in ‘2001’ seem to work…I don’t think ‘Interstellar’ did that. The great sci-fi movie, other than ‘2001’, is ‘Blade Runner’… It’s incredible!

KD [Deliberate. Pensive.]: “ ‘Gravity’…It’s a different experience. I enjoyed it enormously. I’m proud to have been part of this movie [‘2001’]. The last really great film I saw, last month, was ‘Force Majeure’..Painfully funny is a good way to describe it. Don’t miss it!

GL [Cheery. Enthusiastic.]: “See ‘Birdman’* everybody! It’s great! Neorealistic film, with trippy little bits!”

(The pace moves evermore swiftly…)

…Of Kubrick’s character profiles for ‘2001’…

KD [Focussed.]: “We had a fictional biography…We [Bowman and Poole] both had double-doctorates and by the year 2001, they would be choosing people [astronauts] based upon their psychological profile, rather than the military [background].”

…On why they were in the pod…

KD[Informative.]: “Stanley would have us improvise scenes and then he would take the workshops and work them into the film…”

…On contributing ideas, in general…

KD [In quiet, secretive tone.]: “In the end, when I’m in that 16th century room and I’m the older person eating, and the glass breaks… The reason why I asked Stanley if I could knock it over, was in order to sense things in a different way……. The old-age make-up took 12 hours to do!”

…On re-acclimatising to Earth, after so many hours in outer space…

KD [Jokily]: “It wasn’t hard…you just had a coffee!”

(Laughter ensues!)

…On the lack of dialogue in the film…

KD [Wonderfully matter-of-fact!]: “We’ve been in space a long while…We know each other so well, that there’s nothing much left to say! It’s laidback, as it would be, after so long…One of the interesting aspects is that the computer was more human than the humans! The only real emotional scene was when I am taking HAL’s brain apart… What I used [for intention/inspiration] was ‘Of Mice and Men’…

…Of actor, Nigel Davenport, as HAL 9000…

KD [Jocular.]: “Nigel Davenport was cast as Hal before the ultimate actor…and for the longest time, it was like Michael Caine!”

(More laughter fills the studio, owing to Keir’s brilliant impersonation of an English-accented HAL…!!)

On such a high, the ‘Q and A’ session was ‘a wrap’!

Time spent in the presence of two of the wisest, most engaging, fun-loving people whom I have been blessed to meet-and-greet, was gone, in warp-speed..

The mission might have been over but, within that silent millisecond, a mental image of Dave Bowman, hurtling into the future, sprang to mind…Proof positive that, not only would the film continue long into my own…but, having met these delightful gentlemen, the words “Open the pod bay doors, HAL” would never be the same again!

©AFROW2014-2019 ALL RIGHTS RESERVED

WARMEST AFROW-THANKS TO…

MESSRS KEIR DULLEA (KD) AND GARY LOCKWOOD (GL)

RHIDIAN DAVIS (BFI)

SARAH HARVEY PUBLICITY

THE BFI’S LEGENDARY ‘SCI-FI: DAYS OF FEAR AND WONDER’ SEASON CONTINUES…

*(Since the time of going to press, ‘Birdman’ has received 7 Golden Globes Nominations).

‘MEET MICHAEL LA ROSE…’

…if, that is, you can catch up with him…because Michael la Rose is, in his own words “good, but busy”!

Unsurprising, when you consider the fact that he is; 1) “a cultural and political activist, author and researcher”; 2) “chair of The George Padmore Institute (an archive of the black struggle in Britain of people of African, Caribbean and Asian descent) “; 3)”a director of New Beacon Books”; 4) the Founder of ‘Savannah View’, the umbrella organisation under which he manifests his skills as a writer, lecturer, publisher and event co-ordinator and add to that 5) his role as Curator of the BFI Southbank’s upcoming ‘We Love Carnival’ event, and you’ll understand why this expert in all-things ‘Carnival’ might be more than a tad occupied!

What with May to August, being Carnival season and in spite of Hurricane Bertha’s attempt to rain on the parade, nothing can quell the excitement which surrounds one of the biggest and best examples of street celebrations. Thus, in the run up to the BFI Southbank’s ‘African Odysseys’ festivities, of which ‘We Love Carnival’ forms a significant part, the wonderful organisers arranged the opportunity for yours truly to conduct a thoroughly modern and time-saving e-interview, with the polymath who is, Mr La Rose!

Hailing from Barataria, Trinidad and Tobago, born to activist parents, John and Irma La Rose, whom he cites as having “influenced [his] perspectives and activities”, the family moved to Venezuela, finally settling in North London, where he was brought up. Having established his roots, so began the parallel journey of rooting around the topic of ‘Carnival’, resulting in an extremely enlightening unfurling of answers! I defy you not to become your own expert, by the end!

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“WHAT IS YOUR EARLIEST CARNIVAL MEMORY?

My brother Keith and myself were taken by my father to the ‘Carnival Gala’ events at the Commonwealth Institute in London. They were electric, exciting and creative.

WHO IS/ARE YOUR MOST INFLUENTIAL CARNIVAL PERSONALITY/IES?

Other than my mother and father, in the Caribbean, it will be the many Kaisonians (Calypsonians) and Soca artistes like ‘Roaring Lion’, ‘Sparrow’, ‘Gabby’, ‘Shadow’, ‘Scrunter’, ‘David Rudder’, ‘Square One’, ‘Machel Montano’. Then ‘Mas’ designers like George Bailey, Stephen Derrick , Frank Smith, Dragon of the Moko Jumbies and Peter Minshall. Finally cultural activists including Lennox Pierre, Ian “Teddy” Belgrave and Gordon Rohlehr. From the London Carnival community it would be Selwyn Baptiste, Johnno Roberts, Dexter Khan, Vernon “Fellows” Williams, Darcus Howe, Keith Lackhan and Philmore “Boots” Davidson.

WHEN DID YOU REALISE THAT ‘CARNIVAL’ WAS YOUR TOPIC OF CHOICE?

Many Trinidadians are born into Carnival. My family and relatives educated me about Carnival. I went to Notting Hill Carnival for the first time in 1973 with my brother, mother and girl cousins from Brooklyn. The experience of dancing in the streets behind ‘Ebony Steelband’ was magical. The pride for the beauty and complexity of the Carnival festival we (Caribbean people) produced was very important to my identity as a young black youth in Britain.

WHAT IS ‘CARNIVAL’ ABOUT?

The Caribbean Carnival is a celebration of the end of slavery and is a festival of cultural resistance, identity and survival, though many do not know it, even those who participate in Carnival. It incorporates Europe, Africa and Asia and is an artistic expression and creation of the poor and oppressed of the Caribbean, the most underprivileged, the ‘Jammette’ (French diametre from the other side). There are similar Carnival histories in South America (Brazil and Colombia), Central America (Panama), Caribbean (Cuba, Barbados, St Vincent, Grenada and Haiti) and North America (New Orleans).

WHY IS THE CARNIVAL TRADITION SO GLOBALLY INFLUENTIAL?

The Caribbean Carnival tradition has global appeal because it is a unique, exciting, expressive, dynamic street festival which empowers the powerless through songs, dance and masquerade. It is theatre of the streets. It is, on many levels, about freedom. It is carried in the hearts and soul of Caribbean people and reproduced in a local form in North America, Caribbean, Europe and now increasingly, Asia and Africa. It is an empowering, exciting, truly inclusive, enjoyable global product.

WHEN DID YOU GET INVOLVED IN THE ‘WE LOVE CARNIVAL’ SEASON?

I used to attend the incredible, monthly ‘African Odysseys’ screenings at the BFI. Someone on the committee suggested to David Somerset at the BFI to approach me to present an anniversary screening of the Brazilian film ‘Orfeu Negro’ (Black Orpheus), which is the Greek myth, brilliantly set in Rio Carnival. After that, I suggested screening ‘Calypso Dreams’ and did other film introductions and presentations for ‘African Odysseys’. I eventually suggested the idea of ‘We Love Carnival Screenings’ in 2012.

WHAT IS YOUR ROLE IN THE ‘WE LOVE CARNIVAL’ SEASON?

I chose the films for the ‘We Love Carnival Screenings 2014’.

WHY DID YOU CHOOSE THE PARTICULAR FILMS INCLUDED IN THE SEASON?

The films, in their different ways, encompass the history of the key moments in the history of the Caribbean Carnival in Britain from 1959 to the present day.

HOW IMPORTANT IS THIS COLLABORATION WITH THE BFI, TO PERPETUATING THE FUTURE OF CARNIVAL?

The collaboration is very important . A national institution like the BFI, through ‘African Odysseys’, is reaching out to a section of British society (the Black community and Carnival community) [and giving] an opportunity for people to see and hear the untold story of the Caribbean Carnival in Britain. Film is a powerful and immediate medium to inform, educate and open up debates about Carnival art and struggle. The future for the Notting Hill Carnival will rest on information and education.

WHO DO YOU ‘SEE’ COMING TO THE ‘WE LOVE CARNIVAL’ SEASON?

In terms of attendance, I would expect the London Carnival community, scholars and academics, teachers and people who want to know more about the history, art and struggle for a Caribbean Carnival in Britain.

WHO WOULD YOU MOST LIKE TO SEE ATTEND THE SEASON?

Everyone, all classes, all races, all religions. Caribbean Carnival is totally inclusive and welcoming. I would like to see those people who are curious and want more knowledge and understanding of the Caribbean Carnival and what lies behind the masquerade.

WHERE DO YOU ENVISAGE THE SEASON WILL ‘TAKE’ VISITORS?

The ‘We Love carnival screenings 2014’ will help people understand the role of an important figure in British history, Claudia Jones, on the 50th anniversary of her death. They will understand how Notting Hill Carnival was transformed into a Caribbean Carnival. They will see the events that led to 1976 Notting Hill Carnival insurrection. They will also learn about a Carnival musical institution, the Panorama of the Steel orchestras.

A VISITOR CAN ONLY ATTEND ONE EVENT, WHAT WOULD YOU RECOMMEND?

I would recommend the film on Claudia Jones and [although] there is much debate about her relationship to the Notting Hill Carnival, the film shows the impressive, high-profile, indoor Caribbean Carnivals she ran for 5 consecutive years.

WHAT WOULD YOU LIKE TO SEE HAPPEN TO CARNIVAL IN THE FUTURE?

I would like to see the Caribbean Carnival and the Carnival culture of the African Diaspora understood by the people who create it, take part in it and attend it. That it is studied and respected on all the myriad of levels from sociology, economy, maths, folk art to fine art and theatre. That it is recognised and appreciated as a fantastic creation of the poor and underprivileged.

HOW CAN THIS BE FACILITATED IN THE WIDER WORLD, E.G EDUCATION?

It definitely can be achieved through education at all levels, from primary to tertiary, or just by those who are informally interested. I have done a publication for primary children with ‘Tamarind Books’ on the Steel pan and been involved with projects for teachers to incorporate teaching on Carnival culture in performance, maths, history and many other creative classes.

WHAT HAS CARNIVAL TAUGHT YOU?

There is no limit to the imagination or what you can achieve if you work together in unity.

HOW WILL YOU BE PROMOTING CARNIVAL IN THE FUTURE?

For the future, I will be using my skills in unity with other committed people like BFI ‘African Odysseys’ [team], to promote the unknown history of the Caribbean Carnival and promote its art and creativity.

WHAT IS MOST IMPORTANT ABOUT CARNIVAL TO YOU…WHY DO YOU LOVE CARNIVAL?!

For each individual, the answer is different. For me as a designer, bandleader, DJ and plain Caribbean Carnival participant and spectator, it is to experience the indefinable ‘Carnival Spirit’. That physical and cerebral joy that comes when the hard work of the preparation [and] practice comes together on the streets, on the days of Carnival. Here masquerade, performance, dance, music and spectators are one, in the freedom of the Carnival Spirit. Unique.”

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 On that Carnival crescendo, the online ‘q and a’ session was at an end! I was left, ready to join the celebration of the ‘We Love Carnival’ season and after such a rousing e-interview, I wholeheartedly encourage you to do the same!

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Many Afrow thanks to:-

Michael La Rose for taking the time out of his busy schedule to provide such inspiring answers!

Troy Pickersgill for organising such an amazing interview opportunity!

FOR MORE INFORMATION AND TICKETS TO ‘WE LOVE CARNIVAL’, CLICK THE LINK BELOW!

AFRICAN ODYSSEYS 

©AFROW2014-2019 ALL RIGHTS RESERVED (INTERVIEW EDITED BY AFROW) 

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EMAIL EXCHANGE FROM TROY PICKERSGILL (BFI)

‘Great read!!’