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.
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.
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."
"`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.
"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.
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.
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.
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.
"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."
