I am very pleased with this image I took, of St George the Martyr’s church, juxtaposed with The Shard at London Bridge.
That is all. Carry on with whatever it was you were doing.
Here’s a euphemism laden sentence from a Daily Telegraph editorial:
[The research] shows a continuing pattern of “white flight” from areas where indigenous Britons find themselves surrounded by new minority communities.
Where they say ‘indigenous’ they mean ‘white’, and when they say ‘minority communities’ they mean not-white (Aisha Phoenix called this out in The LIP Magazine, a decaded ago). The posh language dresses a racial issue as a cultural one.
And the research in question is questionable. I found the Telegraph editorial via a blog post by Jonanthan Portes of the National Institute of Economic and Social Research. Portes was taking on the grand claims for “white flight” by David Goodhart in his book The British Dream. If people in the ‘White British’ group are leaving London, they are doing so in relatively small numbers.
I have just uploaded some digitised super 8mm cinefilm footage I took in 2003, of the anti-war demonstrations in London.
I sent the original reels to the producers of the We Are Many documentary. They have crowd-sourced footage of the biggest mobilisation of people in history. Sadly, my footage did not make it into the final cut (too much panning, maybe!?) but they provided me with the digitised footage anyway. I am making it available online under a Creative Commons Licence.
Watching the footage a decade after I took it, I am amused by how the vintage cinefilm adds an extra sheen of history to the images. Its also serendipitous that I received this footage back just as Instagram launched its video service. The quick cuts and grainy film in my clips are mirrored in the new content being produced today by social media enthusiasts. I was using Instagram Video before it was cool!
The impulse to create art is as powerful as any other thing that drives us because art connects us to experiences and to one another. Good is besides the point when the need behind it is to create something honest and true to the way we see the world. It’s not about realism. The vintage-tinted Instagram filters are derided for adding a nostalgic cast to the mundane, but what they do is allow users to share their world in the same emotional shades they see. The photo becomes not just a document of a moment, but a story told from a point of view.
This speaks to why I chose to document the protest with Super 8mm cine-film in the first place. The political mobilisation of early 2003 felt historic, and I wanted to convey that in my personal record of the day.
When I was at University and introducing myself to ideas of multiculturalism, orientalism and Samuel Huntington’s (at that time, relatively new) Clash of Civilisations thesis, I distinctly remember being surprised by the attire of a fellow student in the canteen. She wore a black hijab with a huge sequined YSL logo down the back. I remember being surprised that someone who wore such a conservative piece of clothing should also be concerned with such Western concepts as fashion labels.
Of course, that was me just being casually prejudiced on a number of different levels, and I learnt a lot from that short encounter with the back of that woman’s head. No culture or sub-culture has the monopoly on the chic, the fashionable, the well made, the comfortable; Fashion concerns are not the preserve of urban, anti-religious, counter-cultural types. And most importantly, it is possible that the hijab is more than a conservative, patriarchal garb. It can be a means for self-expression just like any other type of clothing.
Artist Sara Shamsavari’s photographs explore this last lesson. Her street photography, exhibited from tomorrow at the Royal Festival Hall, explores the myriad fashion decisions that follow a woman’s choice to wear a hijab or headscarf.
Looking at the photos, I am reminded of an article entitled ‘The Muslim Sartorialist‘ on the MENA focused blog, Aqoul:
Ever heard of the Sartorialist? It’s basically a photo blog done by a guy with a keen eye for fashion. He photographs people in trendy European and North American cities and adds little blurbs about why he thinks the outfits are interesting.
Now, I’ve always taken note of fashionable Muslim girls around me. They are masters of layering, texture and coordination. Whether it’s at the mall, a pretentious cafe or even my gym (where one stylish muhajabat routinely schools me on the treadmill), these ladies are not held back by their headscarves. Unfortunately, most of the photos you find on news sites are of women wearing frumpy hijabs, dowdy overcoats and ominous-looking ninja getups (as Lounsbury likes to call them). Western media is inundated with photos of shapeless baby-blue Afghan burkas and Saudi niqabs, so it’s hardly surprising that most non-Muslims think this style of dress is ubiquitous.
Sara Shamsavari is Iranian, which reminds me of Andrew Sullivan’s ‘Outing Iran‘ series from around the time of the 2009 elections and protests. No, not an assertion that everyone in Iran is gay. Just a recognition of the diversity of opinion and the radical art that is produced inside societies a d cultures we lazily consider to be monolithic.
There has been a lot of this kind of art in the UK in recent years. The London Olympics was a catalyst for this Kind of commissioning. One might even say that in 2013, this exhibition at the Royal Festival Hall is not particularly radical! I wonder whether London is the most appropriate place for this kind of exhibition. Perhaps it should tour to, oh, I don’t know… Bradford? Or Hampshire?
Last Sunday I visited the Horniman Museum in Forest Hill, London Borough of Lewisham. It is a fanastic place, with an eclectic mix of exhibits – a collection of musical instruments, an aquarium, some natural history rooms, &ct. It also has an impressive cafeteria!
In its Gallery Square exhibition space, the museum is showing a great little photography collection, The London Look. The pictures are the winners and runners up of a competition run by the museum and The Londonist website. The winning photos by Robbie Ewing and Pete Zelewski are brilliant, but my favourite is this image, ‘Tube’ by Ed Walker, who has written a post on street photography, and getting in close to take the shot.
She could be the character in my short story, Northern Line Lovers.
I was at the Notting Hill Carnival over the Bank Holiday weekend. I took a few photos and uploaded them to Flickr.
While I was there I posted a tweet complaining about the boarded up shops. I attributed the boards to the fact that there have been disturbances and vandalism in previous years. However, one source who grew up in the area tells me that there have always been boarded up shops, mainly to stop people relieving themselves in shop doorways, rather than for fear of broken windows.
I’ve uploaded a few images to Flickr of the Basketball arena and the Olympic Park locale. All fairly generic – I am sure millions of other people have taken exactly the same images.
I think the strangest example of compulsive documentation is the bizarre need we feel to photograph events that are definitely going to be documented anyway. The athletes filming the Opening Ceremony from within the parade last week is a great example of this. I was very taken with this at the Opening Ceremony of the 2008 Beijing Games and took a really bad photo of the athletes filming the crowd during that ceremony.
And I’ve noted this oddness before, when thousands took photos of the 2008 Presidential inauguration, Malia Obama among them. In these actions, (entirely superfluous in the age of the mass media), we see the audience authenticating their own experience. “I was there and I took my own pictures to prove it.”. It’s the digital equivalent of picking a pebble off a beach – banal in itself, but imbued with meaning and sentiment for the one who took it. Continue reading Flashes, Camcorders, and Compulsive Documentation at the #Olympics
The smug designer with the skinny t-shirt and a fixed gear bike.
The mother in blue track suit with an empty child seat fixed to the pannier.
The ill-prepared lad in the baggy jeans on mountain bike with the seat set way too low.
The hobbyist with orange glasses and Lycra that matches his titanium frame.
The dreadlocked courier with a thick chain wrapped around his chest.
The woman with frayed ginger hair crawling out of her helmet.
The two Japanese tourists, inexplicably on Boris Bikes (miles from a docking station, surely?)
Could I discern
The same eager twitching as the red lights wane,
The same grit of the teeth as clear road opens up ahead
The same extra power on the pedals as the bike overtakes a bus
The same glance over the shoulders, to check the gap between the person behind,
The same confident gait of the one who imagines himself to be wearing a yellow jersey,
As I perceived in myself?
At the four way pedestrian crossing at Ludgate Hill,
When the red lights rudely put the brakes on our makeshift peloton,
Did I perceive in the tall old man in a linen suit,
In the girl in a flowing white dress and flat sandals
In the woman in the business skirt and trainers,
In the sweaty man in shorts, now carrying his fold up bicycle,
A quicker step
A longer stride
A firmer tread
As if the noise that heralded the green man
Was no longer a high-pitched beep
But a starters’ gun?
Over the past year, I’ve been working on a creative publishing challenge I set myself. It’s time to blog about it here and draw a line under the project.
A few years ago, my parents showed me a faded typed manuscript of a memoir, The World of an Insignificant Woman. It was written in the mid 1980’s by my grandfather’s sister, Catherine Thackray, about their parents and family. It is based in a large part on the handwritten memoirs and letters of my great-grandmother, Hilda Marjory Sharp (born 1882).
In recent years I’ve taken a particular interest in new forms of publishing. I drink in the columns of Cory Doctorow and the experiments of James Bridle (two London-based thinkers I have had the pleasure of meeting a few times, through English PEN and Free Word Centre activities). The potential of print-on-demand and eBook publishing is huge, and I had begun to think seriously about getting in on the micro-publishing action.