Haitian konpa groups have developed a reputation as one of the liveliest facets of the West Indian celebrations. "Everybody agreed to bring costumes, which could mean that they will be all in uniformity and coordinated with the leader of the group of whichever band it is," said Jean Alexander, spokeswoman for the Carnival Association. "They are going to be visited by some of the members, to see what it is they are portraying." Haitian konpa groups have developed a reputation as one of the liveliest facets of the West Indian celebrations. "Everybody agreed to bring costumes, which could mean that they will be all in uniformity and coordinated with the leader of the group of whichever band it is," said Jean Alexander, spokeswoman for the Carnival Association. "They are going to be visited by some of the members, to see what it is they are portraying."
Head of Arsenal in the community Alan Sefton said: "We are looking forward to our second visit to Guadeloupe in the summer, when Arsenal community coaches will deliver coaching sessions to the island's young coaches and young footballers."
"Gonaives... my heart is being torn apart, too many mothers have lost too many children," [Wyclef] sings in Creole, while distributing WFP food rations. "We wanted to capture the raw essence of Gonaives and give people inspiration. Not like: 'Be sad for us,' but asking how can we as people really help Gonaives," he said.
Many have blamed the Windies' decline on the MTV generation, who are more interested in American basketball than cricket. And cricketers, although still idolised in the Caribbean, would never earn the amounts of Michael Jordan or Shaquille O'Neal. In this sense, James placed cricket on the same level as Western literature. "We live in one world," he wrote in a 1969 essay, "and we have to find out what is taking place in the world. And I, a man of the Caribbean, have found that it is in the study of Western literature, Western philosophy and Western history that I have found out the things that I have found out, even about the underdeveloped countries." Throughout his life James viewed cricket as a means of helping unite a disparate set of islands, of establishing a Caribbean as opposed to an island mentality. He had little difficulty in understanding why Norman Tebbit should make cricket the basis of his loyalty test - or why most black people would fail it.
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.
"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."
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.
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.
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.
Yet [Dennis Morris]'s `funny' speech not only attracted [Bob Marley] but helped to open a door into the exciting world of photography that would soon spiral him towards success. Now people will be able to get an eyeful of Morris's talent in Growing up Black, an exhibition in London depicting his life as a '70s teenager. "My black friends couldn't understand why I wanted to associate with a white punk band," Morris says.
I don't believe this is because cricket is an inferior game. But, in the eyes of the punters, football rules. This is true, not only in Britain but also in the Caribbean. I was therefore surprised that Channel 4 felt it could cash in on the enthusiasm shown for the Reggae Boyz by putting on a concert at Lords. West Indies tours to Britain in the '60s, '70s and '80s served a much wider purpose that went beyond hearing leather on willow. For those of us oppressed in the context of slavery and colonialism, the black body was something to be despised. It was particularly important for the Windrush generation and during the '50s and '60s, when the factory and the street were open season for racists.
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.
"`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."
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."
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.
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.
It ran for more than six years and playing one of [Desmond]'s barbershop cronies was a highlight of [Ram John Holder]'s long career. "It only had half of the audience of Desmond's, but it had much bigger audiences than the shows they replaced it with." In it, the colourful and exuberant traditions of Trinidad's Carnival provide the setting for a stage event which transforms Handel's Messiah into an musical combining song, dance and spectacle with the spirit of Caribbean storytelling.
"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."
