Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts

Friday, September 30, 2022

The Age of Insurreckshan - LKJ in NME, 1984

From the NME, 17 March 1984, Neil Spencer interviews Linton Kwesi Johnson. Don’t call him a dub poet…

‘I’m not a dub poet and I don’t want to be classified as one… I’ve always seen myself as a poet full stop. I write mostly in the reggae tradition so my work can be described  as reggae poetry in the same way as jazz poetry, blues poetry.. but dub poetry no. I’m responsible for coining the phrase, as early as 1975 in a pamphlet I wrote called Race and Music but then I was talking about the reggae DJs and describing what they do as poetry, as dub lyricism’





[click images to enlarge]

Extract from interview:

Do you think it's important for black Britons to have a separate identity?

I think they have to forge their own identity from their own reality. The cultural gap between my generation, when we came to this country, and my children and their contemporary white friends, it's negligible.

What are you saying there? There's been no real change between conditions for blacks in Britain between then and now?

Oh, there's been changes, but we've had to fight for them. We've made a lot of progress, tremendous progress I believe, over the last 25 years, and as the events of '81 show clearly, we've moved from the era of the '50s and '60s and early '70s, which was an era of resistance, to an era of insurrection. And that is progress from my point of view.

Progress in what respect?

We're now accepted as being part of the country, even the repatriation lobby has to recognise and live with that. The state and the political parties, those who have power in this country, recognise that we have something to offer, we can swing an election particularly in marginal constituencies.

When Thatcher was running for election in 1978 she made those racist speeches about Britain being swamped by an alien culture; well, as you can see, by the last election they'd changed their tune and were trying to win the black vote.

The riots of '81 seemed almost like fulfilments of prophecies you'd made on the
first two LPs.

Well, not so much prophecies, anyone with any common sense could see it, I wasn't unique in saying those things. There had been a lot of mini-riots throughout the '70s, Basically I think the seeds were sown by the police in the '70s and things came to a head with a new generation of youth.

They were anti-police riots primarily?

Definitely. Anti-police and anti-establishment. All the foreign press reported them as race riots, and some press here too, but you and I and Joe Public know different, because though the young blacks were primarily in the leadership of those insurrections - in Brixton, Toxteth, Manchester whites were a big part of those riots.

I think a lot of the frustrations of the unemployed came out there, and were no means confined to them because a lot of those arrested and charged with looting were workers, people in jobs.
On the LP, on the title track and the tone you adopt is, not exactly rejoicing but…
Celebration! An event to be celebrated! It's an important event in the history of blacks in Britain. It's part of our making history in Britain.

Do you think it changed anything?

Of course it did.

What exactly?

I think it's given the establishment and the police a measure of what blacks can do if pushed too far. It did away with saturation policing. They've eased up a bit, been more careful how they move. Things have generally cooled down. And the project hatchers have got a bit more monev out of it.

A lot of the anger about the New Cross massacre spilled over into the riots. a lot of people can't see that, it was only a month after the day of action that the Brixton riots started.


Ad for LKJ's Making History LP from same issue of paper






See also


 

Monday, April 25, 2022

Linton Kwesi Johnson interview, 1982

This interview with Linton Kwesi Johnson was published in the newspaper Socialist Challenge (29 April 1982) under the headline 'We're di forces of vict'ry', alongside a couple of his poems.



'I am an artist who creates for people's entertainment and edification and enlightenment. If my poetry does that I'm happy. If it doesn't I'll have to try harder. If I do write about matters which are of political significance and importance that is only by accident. It's only because I happen to be a political animal who is involved in organisatonal politics.

I have been involved in the black movement since I was a youth. Maybe I would still be writing poetry if I hadn't been involved in the movement with about something completely different. But I don't ever get the two mixed up. You end up with a very cheap progagandist art and I'm totally against that.

I don't believe you can legislate for art. You can't say that the artist must be conscious and the artist must write to free people. An artist creates out of his own experience and at certain times in history there are certain individuals who happen to have these concerns and their art reflects it. For example, Martin Carter, the Guyanese poet; Nicolas Guillen from Cuba; and even in England William Blake who did the painting. These are coincidences. You can have an artist produce good art and be politically reactionary and vice versa.

I think as far as the black movement is concerned that what I do in Race Today is more important than writing ten poems or making ten albums.

Poetry has a role to play. I wouldn't go so far as to say it leads to political action. It has a role to play in the ideological struggle, the struggle for ideas. All it does is to reinforce existing sentiments. I think my poetry has a way of recording our experiences and of expressing the sentiments that we have. These are popular sentiments. I don't invent them. I'm not saying that art has no role to play in the revolutionary movement. Obviously it does. But it is very dangerous to overestimate that role. It is a stimulus.

What most artists hope for if they have a revolutionary perspective is that their art, whether their songs, their novels, their poetry will make people think about their situation or educate them.

It's about entertainment - not in the show business sense but you listen to a piece of music for instance and it'ssad. And because you're a human being and you have that human capacity for sadness you're moved. That's entertainment. And if that isn't what you do then it becomes cheap propaganda. And bad art as well'.

The paper also includes an advert for a '3 the hard way - an evening of poetry with Dub Poets' at Lambeth Town Hall in Brixton with LKJ, Oku Onouua and Michael Smith. The latter was to be killed in the following year in Jamaica after heckling a government minister of the then ruling right wing Jamaican Labour Party.

(Socialist Challenge was the newspaper of the International Marxist Group)

See also:



 

Sunday, January 25, 2015

Burns the Radical

Burns Night once more, the Scottish poet Robert Burns being born on this day in 1759. I have had my vegetarian haggis and a glass of Laphroaig...


Awa ye selfish, war'ly race,
Wha think that havins, sense, an' grace,
Ev'n love an' friendship should give place
To catch-the-plack!
I dinna like to see your face,
Nor hear your crack.

But ye whom social pleasure charms
Whose hearts the tide of kindness warms,
Who hold your being on the terms,
"Each aid the others,"
Come to my bowl, come to my arms,
My friends, my brothers!

'Friendship, in these poems, has a sacred quality. In one of his prose letters, Burns refers to the 'solemn league and covenant of friendship'... Burns' view of humanity's god-given sociability has political ramifications. It provides the basis for a strongly civic political ideology, an ideology rooted in the principle of duty to one's fellows... Burns and his correspondents (local poets and farmers, freethinkers and freemasons) are presented as an archetypal civic community: a society of equals, whose selfless cultivation of virtue, integrity and public spirit distinguishes them from the 'selfish, warly race' whose sole concern is with 'catch-the-plack'. In the classical republic, of course, it was the landed elite who formed the virtuous citizen class, while the disenfranchised poor took care of domestic 'economy' In Burns's epistolary republic, however, it is the poet's humble correspondents who devote their scanty leisure hours to public pursuits (learning, poetry, political discussion) while their supposed superiors - the 'cits' and 'lairds' - are wholly engrossed with money-grubbing' (Liam McIlvanney, Burns the Radical: Poetry and Politics in Late Eighteenth-century Scotland, Tuckwell, 2002) 


What tho’, like Commoners of air,
We wander out, we know not where,
But either house or hal’?
Yet Nature’s charms, the hills and woods,
The sweeping vales, and foaming floods,
Are free alike to all.

(advert from old book of my dads for '50 selected songs of Burns',
published by Mozart Allan, 84 Carlton Place, Glasgow)

See previously: