We have never been able to hold a proper debate about Black genetics because the subject was hijacked by mad White nationalists to promote their ideas of how `inferior' Black people are - `great bodies but small minds'. On the other hand, it is also used by Black nationalists to argue the case for supposed Black genetic superiority.
There are three reasons why I think we have missed the Windrush boat. The first is that we have not really controlled this event but allowed it to be run by `caring' local authorities. I never really understood why we should wait for grants from the council to construct our own memorial of significant anniversaries. This dependent or entitlement mentality has meant that we are always waiting for a handout to make things work. The irony of this is that those who came on the Windrush were in search of a better life where their own efforts counted for something compared to dread of their colonial existence in the Caribbean.
Goodbye Mister Fish 'n' CHIPS: TV chef [Ainsley Harriott] is bringing the. joys of Caribbean cuisine to the nation "I love Caribbean cookery and I think it's very important to get that message across because a lot of Afro-Caribbean people have been living here for almost a generation now," says Ainsley, who lives in south London with his Yorkshire wife Claire and their children Jimmy, 6, and Madeleine, 3. Ainsley is to some the saviour we have been waiting for. The Good Food Show special events steward, Tony Wright, called him "phenomenal" staing: "That's the only word I can use. As soon as Ainsley did ackee and saltfish, I said, `Yes!'. He didn't do the traditional stuff. He did something Caribbean."
"`Faith in the Future' is a clarion call to these churches to look at the shape of faith in UK society - and the role they will play in it." A total of 60 speakers will appear in more than 50 sessions. Speakers will include Rev Arlington Trotman, Bishop Joe Aldred, Bev Thomas, Bishop Paul Jinado, Bishop John Sentamu, Les Isaacs and Bishop John Francis. "Over the last 50 years, the black majority churches have transformed the shape of churchmanship in the UK," he said, "as black churches represent many of the most vibrant and fastest growing congregations in the country.
"Back then," says [Glean], "Irie! was probably the first black dance theatre company to actually work to reggae music on stage, and to use traditional Caribbean folk dances as part of a performance piece. And everybody was really excited by it." "Our rehearsal period was like a training session, and so by the time you got to present the work on stage, the poor dancers were still trying to get to grips with the different styles and how they could fuse that with their contemporary training," recalls Glean. "So sometimes the essence of the artistic content could easily get lost." "You have to know about the culture and you have to have some kind of understanding and experience in order to execute the dance forms, because it really it about style," she explains. "And if you're talking about the traditional forms as well, it's about the traditional forms as well, it's about religion, it's about the rituals - you need to know all of that because that's the only way you'll be able to represent it fully and truthfully on stage. Everything is integral."
In celebration of the 50th anniversary of the arrival of the Windrush, Prince Charles, in collaboration with the Windrush Foundation, invited 30 of the surviving settler s, their friends and family and a whole host of stars and celebrities to a reception at St James' Palace last Thursday. Luminaries
Curiously about the origins of the game has compelled the Anglo-Caribbean committee to begin research into one of the most enthralling pastimes. "We are looking to find out just where the game began," adds [Linton Blake]. "We are also trying to establish who the oldest player is so we can find out about the game's roots." "Most of the women are more passionate than the men," [Winston Bennett] admits. "They just want to be seen as another player and treated as such. It can be embarrassing for some of the chaps when they play against women and lose. It's wonderful to see!" Winston says: "There are some young fellows out there playing at the moment but unfortunately they don't take it seriously like the middle-aged or the older generation. We need good sponsorship to give them the interest. Without the money we can't really go into the fields we would like to."
Biographer Delia Jarrett-Macauley stumbled across Marson's name while doing research for another book. The book has been well-received throughout Britain. Copies have sold out during every one of Jarrett-Macauley's book-signings and scheduled talks. "I saw this clipping that said, `Una Marson, the well-known BBC producer is now on holiday in Jamaica.' And I said: `What! You mean we had a black woman producer at the BBC as early as 1945 and we don't know about it.' I decided her story must be known," she said. Marson joined the BBC in 1936 and made an immediate impact, rising rapidly through the ranks. In 1942 she became the West Indies producer and created the Caribbean Voices programme, which won exposure and respectability for Caribbean writers and poets.
"The Black church is the success story of the arrival of the Empire Windrush. Therefore the church should not be an appendix to the celebrations but at the heart of it." So says Angela Sarkis, chief executive of the Church Urban Fund and vice-president of the African Caribbean Evangelical Alliance (ACEA). Pauline Graham, the coordinator of the churches' Windrush celebration, is encouraging congregations, is encouraging congregations to write in for a Windrush Information Pack. * For further information, contact Ms Graham at ACEA, Whitefield House, 186 Kennington Park Road, London SE11 4BT, or telephone 0171-735 7373.
Prophet and loss: A [Bob Marley] documentary forms the centrepiece of a Channel 4 special series on the Caribbean The music continues on August 7 with Top Ten: Caribbean, a celebration of Latino, reggae, ragga, hip-hop and everything in between with the 10 most successful Caribbean chart acts in pop history. Representing the lighter side of Caribbean life is rising star Richard Blackwood in a one-off Caribbean special of his entertainment series, The Richard Blackwood Show.
"I wanted to write a play that celebrated the journey of our parents," explains [Kwame Kwei-Armah]. "A lot of the previous plays tell us the old, grey story about `No Blacks, No Dogs, No Irish,' but that isn't very entertaining. "Growing up, I had a big nose but when Afrocentricty came in the '80s suddenly I had an African nose," recalls Kwame. "[Chris Monks] is White and together we have a play that is accessible to all communities," says Kwame. "It's not just about Black issues, it deals with universal themes like love, feeling inadequate and beauty."
The irony of the black man with his top off - such as almost any black music star you care to mention - is that it doesn't say to me: "Look at this wonderful black man with his six-pack." We were never wanted for our minds, which was why it was illegal to teach slaves to read. We were flesh, a commodity, labour. As today's black man shows off his pride and joy, the modern billboard becomes the equivalent of yesteryear's slave stocks. The tragedy with the flesh doesn't end there. Too many of us are impressed by a black fascism which fails to question the oppressive power structures of idealised family structures or the obsession with genes, blood and national pride.
Occasionally, a rare talent emerges, such as Lauryn Hill or Maxwell, whereas previously the talent came in hordes. Look at the way Lauryn Hill has gone back to Bob Marley and Stevie Wonder for inspiration and technique. She's still a rap artist but here is a woman who has learnt her trade. It's a question of feeling basically unsafe around a generation that has no respect for its elders.
This means that we must find ways of re-making and continuing the Caribbean traditions that our forefathers brought with them when they got off the Windrush. For me, there are three important lessons. The first is what I call the anatomy of Black existence; put simply, the understanding of the key factors that shape one's life. Second, the ability to take no nonsense, particularly from White people and, thirdly, a sense of humour. This cry is not just for schools to do more Black history. They are actually saying that they have no road map, no narrative structure of their existence in this world as Black people. They are disconnected from the strength and depth of those folks who travelled on the Windrush. It's as if they were orphans connected to no meaningful history or narrative other than the White structures around them. These people were spiritual, not in the religious sense with denominations and heavy moralising, but in the way they used the Judeo-Christian tradition in trying to understand the Black story. The most powerful and popular way in which this was expressed was through Rastafarianism. The second Windrush value is the power to get vex and fight racism. One thing I can say for certain in 1998 is that a disproportionately high number of Black males will die in police custody under suspicious circumstances. My parents told me after the Notting Hill riots in the '50s, White people realised `you don't mess with a West Indian'. Schools, the police and politicians must not be allowed to take us for granted.
CARL Campbell Dance Company 7's forthcoming dance showcase will celebrate more than two decades in the business and in British creative dance work. Carl Campbell 7 is a contemporary Caribbean dance theatre company with a deep commitment to educational development as well as the appreciation and promotion of Caribbean dance and culture as a performing art. Using the medium of contemporary Caribbean dance, the youngsters will perform an exhilarating piece as part of Carl Campbell Dance Company 7's eighth dance education showcase.
Davis' recipe of curried lamb and rice and peas proved to whet the most appetites and now supermarket giant Sainsbury's is preparing to sell it as a ready-made meal in its stores nationwide. "I don't know what will happen next, if something comes out of this it will be great and if it nothing does, then that will be my 15 minutes of fame. But I would love to be a full-time TV chef - I'm in a different world when I am there," he grinned. Check out the follow-up programme which sees Garfield's TV Dinner being created for Sainsbury's supermarket on BBC1 on June 3.
Beneficiaries thus far include: West Yorkshire's Cosmos, assigned L30,000 to stage a year-long exhibition for local ethnic communities; Liverpool's Nigerian Community Development Project, given L90,000 to refurbish its Grade II listed building; Wales's Gateway historic parks and gardens access project, granted L113,000; Brixton's National Museum and Archive of Black History, handed L302,000; and central London's Coram's Fields play area for children, awarded £1m for a complete restoration. [Helen Jackson] says there are many ways in which HLF can benefit the black community and that it is particularly keen to address issues such as social exclusion, depravation and young people's concerns. "We want to ensure lottery funding goes to all groups," she says. "We are aware we have more to do in really promoting equality of access to our funding.
Culture is a powerful tool for inspiring human beings and bringing them together in a concerted `family' action, says Prof [Marimba Ani], adding: "Our cultural roots are the most ancient in the world." This is very true and it is accepted that Egyptian science and technology laid the foundations for the development of Europe. It is also true that the finance to fund this development came from the proceeds of the barbaric slave trade. Black history is rich and diverse and knowledge of African achievements in education, politics, art, agriculture, medicine, science, religion, metallurgy, engineering, music and sports can help to boost our self-confidence no end. Records refer to the small population of `Negras' in Elizabethan London and even stretch back to the Roman Empire's occupation of Britain, when Africans were marooned at Hadrian's Wall in the third century AD. In the mid-'50s the Transport and General Workers' Union, now headed by Jamaican-born Bill Morris, insisted that no more than 52 of Wolverhampton's 900 bus workers should be black. This kind of colour bar was prevalent in many city transport companies from West Bromwich to Bristol.
Watching Caryl Phillips' excellent The Final Passage was a difficult process. Not just because it was a brilliant exploration of the last 30 years or so, showing the achievements and limitations of the Windrush generation, but, more importantly, because it exposed how we have been starved of intelligent, well-made Black programmes which offer us the possibility of serious reflection on our condition in this country. Phillips achieves a wonderful thing in his drama - he converts all our individual stories of moving to Britain and setting up home into a mass celebration of common history. The Final Passage thus becomes a template of sorts of the recent beginnings of Black Britain. Whether we are from an African or Caribbean background, there were scenes and emotions which we all recognised from our own histories. Control Many people didn't like The Final Passage because they felt that it yet again reinforced the negative view of Black men. But they need to be reminded that this is a work of fiction, not reality. And Caryl Phillips' main achievement in the series is to give us, in [Michael], the first truly great tragic-heroic Black character on British television. The lessons of his life should resonate in our time - a sort of angled mirror. He will remain a constant reminder of the need to bury the `colonial creation' - the Black man who is only able to manifest himself through his dreams rather than through the reality of day-to-day action.
Over half a century later, it would be Marcus Garvey, the goer, against WEB Dubois, the stayer. Although, even Du Bois himself was to get so fed up with American racism that in the `60s at the time of the great new possibilities promised by the Dr King's Civil Rights Movement, he left America to go to Nkrumah's Ghana where he was to die on the eve of Dr King's, `I Have a Dream Speech'. Following Du Bois and Garvey, the Rastafarian movement-which was founded in the 1930's in Jamaica, were to be the next manifestation of goers even though its real impact was not to be felt for another forty years. They were followed by the next great two goers and stayers - Malcolm X (and the Nation of Islam) and Martin Luther King. Luther King's `I Have a Dream' speech was in the tradition of frederick [Frederick Douglass], and was perhaps the most eloquent statement yet of the need to sit tight, fight and make manifest the dream of the brotherhood of man. Dream So [Bernie Grant]'s latest call is in the tradition of many others before him - [Martin Delany], Garvey, the later Du Bois, and Malcolm X. Many of those who denounce Bernie at the movement, would turn around and cite some of those whose tradition Bernie embraces as heroes.
"Nothing can bring back those days," Mrs [Letitia Rose] declared. "Everything has changed. Nowadays, I don't bother to do a lot of shopping because it is not as enjoyable." "The party was usually held in a big park," she recalled. "There would be lots of food and music playing until late into the night. While the big people danced we used to have our little secret boyfriends and a group of us would to go off and play hide and seek. "As children in Jamaica, we used to organise parties and collect gifts for needy children in the community," said [Iris Gordon], who helped set up the Jamaica Heart Foundation. "Making children happy is what I enjoy most about this time of the year."
