‘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.”

~

 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!

~

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!!’

‘HOME-FROM-HOME, AT BFI SOUTHBANK!’

I have been, somewhat, adopted by the BFI!

In a wide-angle view, its exterior would resemble a glacial palace, yet, the automatic opening of entrance doors, leads you into a labyrinthine coccon of artistic excellence, the atmosphere, of which, is laden with creativity. To be within the environs of such a precious jewel in the crown of audio-visual arts, to breathe in its air, is not only inspiring, but to be further absorbed and integrated into a truly stimulating world.

From surreal to evocative, documentary to dream-like, kitchen-sink to Hollywood, U.K. to Global, BFI Southbank programming caters for all tastes. You need only cast your eye upon (and promptly, pick up) guides to current and future screenings and events, to see the wealth of choice on offer. For instance, I recently experienced the genius of “Easy Rider”* and, no sooner had I assimilated its brilliance, than I was back on the ‘frow’, absorbing the, somewhat juxtaposed, supremely-acted and fast-paced, French two-hander, of Polanski’s “Venus In Fur”!

The month of August heralds the arrival of “Teenage Kicks”, an exploration of the representation of such a unique period of pubescent physical, emotional and spiritual growth-spurts of life. The span of filmic articulation, over multiple genres, includes an amazing roster, to include the classic “Heathers”, which will surely resonate in the guise of nostalgic fashion flashbacks and the London premiere of Sonic Cinema’s “Beyond Clueless”, which documents 200 stand-out moments in the teen-movie genre. With a live score from from ‘Summer Camp’, and post-screening DJ set, this is definitely top of my go-see list! Undoubtedly, “I was there when” will echo through many a cognitive corridor…I’m already hearing ‘Ahmad’s’ hypnotic refrain of “Back in the day, when I was young, I’m not a kid anymore, but sometimes I sit and wish I was a kid again..”, revolve around the turntable of my inner jukebox!

September also promises much excitement, featuring the jam-packed weekender, a much-loved strand to the BFI repertoire. A highlight must surely be the ‘African Odysseys’ season, a highly-anticipated series of unmissable screenings and talks. Writer, Nadia Denton will be in conversation, at the launch of her new book “Beyond Nollywood”, part of a 2-for-1, for those who see Chika Anandu’s ‘B for Boy’. Also scheduled is the wonderful “We Love Carnival”, curated by Michael La Rose, which will follow the winding road of the Carnival tradition, exploring its Caribbean roots and musical heritage, to its diverse impact on a global scale.

This is just the tip of the glacial iceberg to this palace, which I call my ‘second home’ and, should the aforementioned have whet your Arts-appetite, simply click the links below, to the fantastic BFI website, for futher details of listings and booking. But make sure you move quickly, because these enlightening events and more, will be extremely popular!

With that said… Go forth and enjoy the seasons!

~

BFI SOUTHBANK: www.bfi.org.uk ~ BFI SOUTHBANK GUIDE: AUGUST ~ BFI SOUTHBANK GUIDE: SEPTEMBER/ OCTOBER

AFRICAN ODYSSEYS

Heartfelt thanks to the BFI Press Team for supporting my cinematic development and being such amazing hosts!

~

*“Finding my way from Hopper to Hoppen!” charts my journey of creative epiphanies via the BFI Southbank and Michael Hoppen Gallery!

©AFROW2014-2019. ALL RIGHTS RESERVED.

LAUNCH: ‘ANFRAY & ANFRAY’ ARE AN ‘INSEPARABLE’ DESIGN-DUO!

As a self-confessed “wiley wordsmith”, I see the narrative in all things. Nothing being exempt, it was with deep joy that I discovered a most beautiful storyline behind the debut ring collection from esteemed jewellery design-duo, “Anfray and Anfray”.

Given that circles engender themes of a timeless and endless nature, I had already prepared to discover their inclusion in the mosaic of creative inspiration. However, what I had not prepared for, was the palpable articulation of emotional profundity, stemming from the collaborative passion of the designers, themselves. The secret? Jean-François and Alena are a couple, which gives rise to the full-force of passion being emitted though every band of deluxe rose, white and yellow gold. Thus, the choice of launching the range in the beautifully bijoux space of Mayfair’s “Wolf and Badger” boutique, was not only perfect, but perfectly complementary in, both, lighting and interior design.

Beneath the dimmed, soft-focus glow, the pieces were perched upon crystal-clear plinths, with all of the regal glamour of Hollywood starlets, ready their close-ups! For some while, I touched nothing. I merely stood, simply, quietly, deciphering the code-of-elegance which the couple had proposed. My patience was rewarded, as everso gently, the cognitive shoots of the “Anfray and Anfray” “Inseparable” concept started to spring forth. So began my mental points-of-departure, as to the “Who, What, When, Where, Why and How”, enmeshed within each, potential, ring-owner’s storyline.

I flew around upon my creative cosmic-cloud, wondering about the long-distance lovers, who might be in need of a symbol of togetherness, as a heartfelt reminder of their unique connection… Perhaps they would select a two-colour gold combination, in order to signify the neverending unison of their two entities. What of the parents, keen to commemorate a life-landmark of a precious daughter, seemingly infant-to-adult, overnight… Might the overlapping, independently-rotating elements, reassure her that, no matter how grown-up, she would always be their little girl? With every turn of tactile beading, would the distinctive song of metal-against-metal convey the message of being unconditionally loved?

Just such internal sketches were enthusiastically discussed, firstly with Zoe Hutchinson, Director of “Platform”, the outstanding PR company, responsible for unveiling this inspired collection, and, once those scenes had been set aside to mature, with Alena and Jean-François. The vibrancy with which each expressed the intent to honour the interplay of being, at once, intrinsically-linked with another, whilst also an individual, rendered it easy to understand why I sensed such an over-arching aura of emotional profundity.

Beyond the thematic concepts, the co-creators import an intense sensibility of social consciousness, with a passion, equal to that of their aesthetic awareness. Thus, not only is their collaborative ingenuity further channelled through the responsible-sourcing of all materials and the utilisation of conflict-free diamonds, but this sensitivity also perpetuates through the backstory of the ring which is acquired and/ or gifted.

Having snorkelled-up from the depths of my thoughts, I took the time to point-and press ‘last looks’ at the assembled compendium of supremely hand-crafted jewellery and to absorb the flow of electric, creative energy. I reflected upon the “Anfray and Anfray” ability to distil and impart notions and emotions into, essentially, cold matter. I connected with the fact that they display what we all possess…the ability to infuse life into that which appears to be lifeless…How, to steep the inanimate, with the animate force of love, activates earnest memories, which can reverberate through the browsing-history of time.

Jean-Francois and Alena describe it as “being bound yet free”.

I couldn’t agree more and, as I left for my next event, I realised, in a heartbeat, that a part of an undeniably stylish, undeletable evening, to launch a stunning collection of unforgettable rings,  had already come, powerfully, full-circle.

www.anfray-anfray.co.uk ~ www.platform-creative.com ~ www.wolfandbadger.com

@ANFRAYANFRAY ~ @platform_LDN ~ @wolfandbadger

©AFROW2013-2019 ALL RIGHTS RESERVED

‘SPOTLIGHT ON: THE SARTORIAL RISE OF MR HUDSON’

Dearest Afrow-Family, might I prevail upon you for a moment, in order to regale you with the very happy news that Mr Hudson has returned!

Yes, he’s back on-the-‘b’-of-the-bang, with his soulful new single, ‘Fred Astaire’ suitably-paired with a couture video-clip of exquisite elegance.

We catch him in collaborative mood, with photographer-extraordinaire, Rankin, his willing creative-accomplice, and what results is a snapshot of a man-in-love, making himself ready to meet the object-of-his-affections, herself, in preparation for his arrival. It is, indeed, a  romantic narrative, but don’t think for a minute that co-created visual-art would ever remain simple, in a Rankin-Hudson world!

What ensues is a glorious homage to the entire process of manifesting such a stunning end-result. With the objective of giving status-to-the-apparatus, we, the viewers, become an invited-audience of a site-specific, behind-the-scenes, movement sequence. Thus, in one shot, we are exposed to the make-up artist, putting the final swipes of non-reflective base onto Hudson’s gossamer-skin, whilst in another, a snake of crew-members process after him as, rose-in-hand, he winds his way to his date’s door. It is, in a word, stunning and witnessing the work-in-progress would be one thing, but the merging of the emotive element is a sight to behold. The crew seem to be a support-system to Hudson’s ‘Eynesford-Hill-style’ character, in parallel to the real-time support-group of professionals whom they form, in facilitating the succesful outcome of the project.

Stylistically, the video is an undeniable tour-de-force. From the trademark black vest, at the beginning of his dressing ritual, to the crisp, clean, lightning-white shirt, razor-sharp, Hardy Amies suiting, efficiently-cut, so as to accentuate Hudson’s compact frame, to the timepiece which tantalises at the wrist and the beautiful, old-faithful brogue, constituting the Astaire-footwear, the look hails to the top-to-toe glamour of the quintessential, reel-to-reel screen-star, with an anglo-edge!

Just as our protagonist takes to the look with a cool and quiet confidence, so too, has Mr Hudson stuck his stylistic-perspective above the parapet, along his journey to greater public visibility. At times the classic country-gent, in tweed flat-cap and waistcoat, at others the ‘Singing Detective’, in a dipped trilby-and-trench ensemble, he has always held an air of wit, to match the wisdom of his open-hearted lyrics. As his career has developed, so too has his foray into the realms of the fashion-cognoscenti deepened. Courting the extremes of the on-trend, has found him ahead-of-the-game when it comes to expressing his sartorial approach. He makes no bones about having a wardrobe, which incorporates either a T-shirt with a stark, geometric design, a vibrant, primary-red two-piece suit or super ankle-skimming, tapered trousers, seemingly tailored to within-an-inch of their perambulatory efficacy! He has an innate sense of freedom-of-fashion-speech, which promotes the continuation of his brand-conversations on many levels, whether high-end, via Jil Sander, Burberry or Dior, or high street, through the likes of Top Man, and the excitement rests in the fact that he is such a chameleon…ergo his model-status with the top-tier ‘Next’ Agency!

Of late, he has been off our radars, building his production-repertoire, thus any glimpses which we have seen of him, have showcased another of his ‘go-to’ looks, of striped, loose top, rolled-up, straight-legged pants and, more often than not, his beloved brogues…without socks, mind you! However, with the release of ‘Fred Astaire’, we get to see the a man who is a symposium-on-style… On this track, we hear just how gifted a vocalist he is, with a faultless falsetto, (better than I’ve ever heard him sing before), reminiscent of the scintillating skills of Daryl Hall, and the lyrical ability to verse the vulnerability of a type of man with a ‘stiff-upper-lip’, who is courageous enough to admit he hurts but still gets out there and loves, all the same.

Mr Hudson shines in the constellation of U.K and global artists and whilst he has named David Bowie as his style icon, I believe that this troubadour-for-our-times, is fulfilling his potential of being a top man and gentleman, for generations to come.

‘Fred Astaire’ video: http://youtu.be/ikvxrC2mI1g courtesy of HungerTV! Enjoy!

©AFROW 2013-2019 ALL RIGHTS RESERVED