'Nobody can take away the dances you've already had'

 

Image from 'Come dine in blue', a participatory art project working with migrant communities in Lewisham.

'For dancing in the streets' - solidarity with revolt in Iran

The 'Women, Life, Freedom' revolt in Iran is an inspiration. I can only express my solidarity for those who have taken to the streets following the death of Mahsa (Jina) Amini at the hands of the Guidance Patrol morality police, after she was detained because of how she was dressed (specifically for not 'correctly' covering her head).

Mahsa Amimi

So many others have been killed since, here's just some of those named so far:

Let us never forget them, or Asra Panahi, a 16 year old killed after refusing to sing an anthem in support of the regime

In a state which polices music and dancing so heavily it is no surprise that these are being forcibly expressed in the protest movement, most notably in Shervin Hajipour’s “For…” which makes a song out of tweets posted by people about what they are fighting for: ''For dancing in the streets,  For the fear we feel when kissing a loved one, For my sister, your sister, our sisters...For women, life, freedom

 

 Interesting piece here by Omid Hessamian, 'Shervin Hajipour’s “For…” and the History of Iranian Protest Songs'

Echoes too of the 'dancing is not a crime' movement following the 2018 arrest and jailing of Maedeh Hojabri for instagram posts of her dancing. This piece, 'Dancing Tehran: Iran's Women Make A Stand' features women dancing in defiance and solidariy intercut with videos made by Maedeh Hojabri.

 

Update December 2022:

Mahsa Amimi remembered in London (Shoreditch)

Breakbeats & Benefit Gigs at 1990s Pembury Tavern, Hackney

I was in Hackney recently for a Hackney radical history walk/talk and went past the Pembury Tavern on Amhurst Road. The pub has been there since 1856 and has witnessed much of the history under discussion. It has certainly changed since I first went there in the early 1990s and is no longer full of squatters - but neither is Hackney! No doubt it has always changed to reflect the changing locale and it was good to see that it still seems to be flourishing - now of course a home to craft beer (it is linked to Hackney based Five Points Brewing Co.) and pizza.

Anyway I came across a flyer from a night there in December 1998:  High-Rise 'Freestyle underground sounds every Thursday at the Pembury Tavern'. My friend Laurel from Luton ('Flo Hrd' junglist) was involved and it was another of our Luton friend's birthday (Kim). Hence I played a short set as Neil Disconaut, can't say my mixture of space disco and Ambush records breakcore exactly set the place alight but hey. 

The Pembury was a regular venue for benefit gigs around that time. This listing from radical zine Contraflow from Autumn 1997 for instance highlights several gigs there, including benefits for Reclaim the Streets, Hackney Refugee and Migrant Support Group, the Autonomous Refugee Centre Hackney (ARCH) and Contraflow itself. Head Jam, PAIN, Inner Terrestrials in the house, not to mention Radical Dance Faction, Dead Dog Mountain and Tofu Love Frogs in the area.

After first writing this I came across this mention of the Pembury in an interview with Class War founder Ian Bone in Freedom magazine (vol 82:2, 2022/23), where he talks about Hackney in the late 1980s/early 90s:

'The Pembury (pub) was like a sort of red base, with squatters, red actionists and class warriors, also a palpable anarchist community, like maybe there'd been in Brixton in the early '80s, lots of anarchists per head of the population and a lot of little magazines like Hackney Heckler, loads of other stuff, a very vibrant scene. There was the music scene, then we'd do stuff like chase the housing manager down the road. Yeah, people were declaring it the People's Republic of Hackney'.

Good to see some old friends on the 'radical history faction' walk, some of whom were involved in some of those things mentioned above. There were various tales of poll tax protests and squatting adventures including the occupation of the empty London Fields Lido which helped prevent it being demolished and turned into a car park. 

'We are dancing strong': A free festival on Hackney Marshes, 1997

'The Big Sexy Festy Party'

The rather grandiosely titled Free Festival of Human and and Environmental Global Rights was a one day legal free festival held on Hackney Marshes on 20th July 1997 (a similar event had taken place in Finsbury Park the year before). 

My diary note: 'We met outside the dub and roots tent. The sound systems were arranged in a line along one side of the park, ranging from a stage with punk bands, through various house and techno line ups, a drum & bass system and a more eclectic tent which seemed to be playing everything from Stevie Wonder to sort of Latin Jazz (the DJ was wearing a huge sombrero). With so much in such a relatively close space it was possible to listen to several sounds at once depending on where you were standing. We took kids dancing on our shoulders at the Big Sexy Festy Party sound system. The crowd wasn't as big as last year's in Finsburty Park, but it was nice and relaxed in the sunshine. At one end of the site were circus performers. There was a trapeze and stilts, but not much action while we were there, although four women in white dresses and silver foil angel wings emerged and ran into the dancing throng and there was also a giant robot marching around on stilts'

'Staging a free festival is riddled with obstacles and bureaucracy - but these hassles pale into insignificance when we're dancing. And today we are dancing strong to show our unison against such infringements of our rights to gather, assemble, protest, dance and move on'

There were stalls there from various groups including Reclaim the Streets, Justice (Brighton anti-Criminal Justice Act group), Squall (squatting/counter culture paper), Friends and Families of Travellers and the Free Tibet Campaign.

Kai Sounds ran the dub stage, with Jah Free from Southend, the Bushchemists, the Disciples and a Zion Train DJ set. 

There was also a free party sound system stage, as explained in the programme:

'Hello, hello and welcome to the show This is the all England Free Party Stage comin' at ya loud and proud, courtesy of the Big Sexy Festy Party and the International Free Festival of Global Rights, 1997. Hosted this year by the South West's smiling groove posse Sunnyside and Nottingham's ever legendary DIY bringing you just a small but excellent sample of the UK's funkiest free party culture.

In every region of this country just about every weekend of the year, groups of people commonly assent to gather together with one unifying purpose to dance for free in woods and fields, warehouses and factories, barns, farms, quarries, squats, forests and beaches. just about anywhere. In fact these events defend an age old inclination by mankind to assemble, celebrate and interact as a community in a

spirit of care, responsibility and joy.

In an era which has seen a huge erosion of our human and civil rights and the hard sell of practically every conceivable aspect of modern existenve they provide a valuable and democratic

antidote for the spirit in the face of crass cultural commercialisation.  In a society where everything is potential product, priced and marketed for those who can afford it, something for free sets a

dangerous precedent for those in economic and political power,

This stage is dedicated to all those many groups and individuals who tirelessly provide their energy and resources in order to preserve these principles. The biggest of shouts goes out to free party heads everywhere; to Bedlam, Circus Warp, Smokescreen, Desert Storm, Lazy House, Disc-Lexia, Chilholm Tribe, Freebase, Fun Factory, Sacred Grooves, Discord, Slack, BWPT, Stroudoss, Mutant Dance, Vibe Positive Sounds, Pulse, Rogue, Spoof, Fluffy as Fuck, TWAT, Toe-to-Head, Pineapple Tribe, Exodus, Chiba City, Misdemeanor, Indigenous Sounds, 55 Trout, Immersion, Trolley Sound System and all those who shall remain nameless for risking liberty, property and land in the name of freedom .

Enter, enjoy, think then act. Do it and remember, always make a donation, support

your local underground'

Daniel Poole glow in the dark robot t-shirt!

See also:

Hackney Volcano Festival 2000

East London Gay Centre attacked (1976)

The East London Gay Centre was at 19 Redmans Road, Stepney in the 1970s. As this report from 1976 describes it faced sometimes violent hostility, some of it seemingly organised and quite possibly by the far right that had a significant presence in that area at the time. In this instance 'an apparently organised group of men ran up the road shouting fascist slogans and throwing pub glasses and beer bottles' while a small party was going on at the centre. 

The centre was a place where people lived as well as socialised, and this article seemingly written by a resident suggests that this was central to being able to live an authentic life - 'Even with gay bars and clubs you can limit your gayness to one night a month or a week, and limit being gay to having sex. But you're not just gay every night at the club or when sleeping with another woman, you are gay the whole time... This is then the first point of living gay centres - by living with other gay people you can be gay the whole time'

Source: Anarchist Worker (paper of the Anarchist Workers Association), September 1976, copy held at Bishopsgate Institute archive. 

 

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

LKJ Interview in Socialist Challenge 1982

 

'They call themselves the Gender Benders' (1984)

I saw an online discussion recently about the origins of the term 'gender bender'. Seemingly Jon Savage used it in a 1980 article about David Bowie in The Face, and it seems to have been in use in UK/US in the 1970s if not earlier. But it was with the advent of Boy George and Culture Club that the term became applied in the popular press to a whole fashion scene/subculture. The first example I could find at British Newspaper Archive was from the Sunday Mirror, 22 January 1984, 'Gender Benders' by Linda McKay.

'They are shocking. They are outrageous. They call themselves the Gender Benders, the latest youth cult to follow in the high-heeled footsteps of bizarre pop idols Boy George and Marilyn. These days, far from simply dressing up in the privacy of their own homes, the Gender Benders are coming out of the  wardrobe. They wear their camp clothes in the streets, to the local pub and even shopping in the supermarket… The Sunday Mirror has made an in-depth investigation of the crazy new cult, which will become part of the fashion history of the 80s,

Gender Benders are are easy to spot. These days you can see them on suburban streets from Penzance to Penrith, More and more parents are discovering their children turning to astonishing new fashions that make even Boy George look butch. And It can be a terrible shock to suspect that your son is bisexual or gay. But our research shows that most Gender Benders are anything but gay. In fact, most of their blood is as red as their lipstick. They make-up and dress up entirely out of a sense of fashion. And the girls find it a turn-on and sexually attractive'

Update (27/9/2022):

For a 1970s example of the term see a letter entitled 'gender benders' in Texas Monthly (August 1978), describing a sex reassignment clinic in Houston.  Simon Reynolds (see comment below) has spotted a 1981 book by David Egnar, 'The Gender Benders: a look at the trends distorting the roles of men and women' published by Radio Bible Class, a US Christian publisher - a book bemoaning the undermining of biblical gender norms by feminism and the sexual revolution .

London Anarchist Bookfair

The London Anarchist Bookfair in September 2021 took place in the shadow of Covid. Some of it was held outside in Red Lion Square, while inside Conway Hall everyone was wearing masks.

'come friends don a mask and let's make anarchy' - guess many anarchists aren't shy about wearing masks but at a time of covid hoaxer conspiracy theories it was good to see a clear commitment to wearing Covid masks at this event.

A banner in Red Lion Square remembers Anna Campbell and Josh Schoolar, two people from Britian who fought with Kurdish rebels

The 2022 Bookfair takes place on Saturday 17th September 2022 at Bishopsgate Institute with satellite events at nearby venues

 

Monica Sjöö - art of anarcho-feminism, the Goddess and the peace movement

'Monica Sjöö: The time is NOW and it is overdue!' at the Beaconsfield Gallery, London SE11 brings together a large collection of paintings by the Swedish anarcho/ecofeminist artist and activist Monica Sjöö (1938-2005). Some of this work would be familiar in pagan scenes - for instance her paintings have been part of the Goddess Temple in Glastonbury for many years - but less so in the gallery art world which is rushing now to catch up with previously marginalised women artists.

Many of her works feature powerful Goddess figures, standing stones as well as more personal imagery relating to the tragic early deaths of two of her sons. Sjöö was a deeply political figure, going back to her involvement in the anti-Vietnam war movement in the 1960s. An article by Rupert White in the excellent Legion Projects zine 'Monica Sjöö; artist, activist, writer, mother, warrior' notes that in the 1960s 'she became affiliated with Anarchist and Situationist groups' including befriending King Mob in London who 'gave her some contacts in the States, such that in August [1968] 'she was able to travel to New York and stay with pioneering Eco-anarchist Murray Bookchin. Whilst she was there she also met up with Black Mask'.

Becoming more involved in the feminist spirituality movement, Sjöö was very critical of what she termed 'The Patriarchal Occult Thinking of the New Age' which in its focus on the light and spirit she saw as disavowing the dark (including the dark skin), the body (especially the woman's body) and the Earth. She wrote that the 'most frightening aspect of the New Age is its adoption, and perpetration, of a mishmash of reactionary, patriarchal occult traditions and thinking of both East and West, all of which have in common a hatred of the Earth, authoritarianism, racism and misogyny' (Return of the Dark/Light Mother or New Age Armageddon?: Towards a Feminist Vision of the Future, 1999).

She was also critical of Goddess worship separate from political action. In her book with Barbara Mor, 'The Great Cosmic Mother', they argued: 'Nor does the Goddess "live" solely in elite separatist retreats, dancing naked in the piney woods under a white and well-fed moon. The Goddess at this moment is starving to death in refugee camps, with a skeletal child clutched to her dry nipples. The Goddess at this moment is undergoing routine strip-and-squat search inside an American prison. The Goddess is on welfare, raising her children in a ghetto next to a freeway interchange that fills their blood cells and neurons with lead. The Goddess is an eight- year-old girl being used for the special sexual thrills of visiting businessmen in a Brazilian brothel. The Goddess is patrolling with a rifle slung over her shoulder, trying to save a revolution in Nicaragua' (interestingly this is very similar to language of Christian liberation theology).

Women reclaim Salisbury Plain

She became very involved in the 1980s women's peace movement, and in her book 'Return of the Dark/Light Mother' she gives an account of a remarkable 1985 action 'Women reclaim Salisbury Plain' which saw women walking from Avebury to Stonehenge across the military land used for tank exercises:

 'This extremely powerful and empowering pilgrimage was magical and a highly political direct action which as far as I am concerned is a truly spiritual-political women's way... We joined a group of punk women from Greenham sitting within the stones [at Avebury]. Police were also gathering by now, and when we were sitting later at the foot of Silbury having our lunch they approached us and warned us not to entertain any ideas of camping for the night anywhere in the vicinity. We all knew, however that we would sleep on Silbury and by late afternoon we gathered up there.

This was the night of Beltane and we were here to celebrate the Mother. We made a Beltane-fire carefully so as not to damage the mound and then gathered to discuss a possible ritual. By now, we had been joined by the American wise woman/witch, Starhawk' [who] 'suggested that we cast a circle, call in the elements, ground ourselves and dance the spiral dance. We danced and drummed and chanted'

At the end of the procession on 4th May they 'cut holes through the fences and snaked our way into the stones across the field, all the while singing Return to the Mother while police and tourists looked sheepishly on. Our number had by now increased since many women had come from London, Bristol and other nearby places to join us just for the weekend. Once within Stonehenge, we gave the ancient stone-beings loving care and energies and danced for hours amongst them; we meditated, sang, lit candles and dreamed. 

Many pagans and people of the Craft have a love for the land and a reverence for the Earth, but many too do not realise that this is not enough and that one must also take political direct action against those that ill-treat and exploit Her. It was this understanding that fired the women on our walk'.

From the Flames: radical feminism with spirit' (Winter 1998/99). Cover design by Monica

  Sjöö. The contents inside included her poem 'Are there Great Female Beings out there waiting for us to be free?'.  Sjöö certainly thought so and believed she was in some kind of communication with them across time and space.

The exhibition at Beaconsfield gallery, 11 June to 10 September 2022

 

Ragged Ragtime Girls: Leila Waddell, Aleister Crowley and seven dancing violinists

I have been enjoying Phil Baker's 'City of the Beast: The London of Aleister Crowley' (Strange Attractor, 2022), which traces his life through places associated with him. In doing so he situates Crowley in a specific London bohemian world of cafes, salons, clubs and temples, populated by people often seen only as (mostly temporary) followers of his but who led interesting lives in their own right - and were probably much more pleasant/less abusive people to befriend.

One of the sites Baker mentions is the Tivoli Theatre which stood at 65-70 the Strand in London, a building 'demolished in 1914, replaced by the Tivoli cinema and the site is now a featureless modern office block'.  It was here that in 1913 a musical troupe called The Ragged Ragtime Girls (sometimes spelt Ragged Rag-Time Girls) played for seven weeks, an act consisting of 'seven pretty girls who play the violin and dance at the same time'. I hadn't heard of them previously so set of searching at the British Newspaper Archive and elsewhere to find out more.

A contemporary review describes them as 'a charming septette' sharing a bill with American songwriters Harry Williams and Nat Ayer, composers of 'Oh you beautiful doll' and the dancers Ida Crispi and Fred Farren. On another occasion they shared a bill at the Tivoli with comedian  George Formby sr., father of the later ukelele star (Sporting Life, 19 March 1913).

The connection with Crowley was that among the seven was Leila Waddell, Australian violinist and sometime 'Scarlet Woman' consort of Crowley. If Crowley is to be believed the group was his idea, arising from his suggestion that 'she should combine fiddling with dancing. My idea was, of course, to find a new art form. But of this she was not capable. She failed to understand my idea'. 

He goes on: 'I turned my thoughts to making a popular success for her. We collected six assistant fiddlers, strung together a jumble of jingles and set them to a riot of motion; dressed the septette in coloured rags, called them “The Ragged Ragtime Girls” and took London by storm. It was a sickening business [...] In the early part of 1913, my work had apparently settled down to a regular routine. Everything went very well but nothing startling occurred. On March 3rd, the “Ragged Ragtime Girls” opened at the Old Tivoli. It was an immediate success and relieved my mind of all preoccupations with worldly affairs'. Later that year Crowley was 'free to accompany the “Ragged Ragtime Girls” to Moscow, where they were engaged for the summer, at the Aquarium. They were badly in need of protection. Leila Waddell was the only one with a head on her shoulders. Of the other six, three were dipsomanics, four nymphomaniacs, two hysterically prudish, and all ineradicably convinced that outside England everyone was a robber, ravisher and assassin. They all carried revolvers, which they did not know how to use; though prepared to do so on the first person who spoke to them' (The Confessions of Aleister Crowley).

The group also seem to have played at other London venues including the Tottenham Palace (Stage 10 April 1913) and the East Ham Palace, as well as in Edinburgh, Glasgow and at the Manchester Hippodrome - this time advertised as 'Eight Ragged Rag-Time Girls' (The Era, 17 September 1913).

 Then there were a series of shows in the North East of England including the Sunderland Empire with Tiller girl dancers, Miss Louie Tracey, 'a male impersonator'  and the Great Barnetti who produced 'weird effects of a black magic character';  and the South Shields Empire Place as 'Seven Gipsy Ragged Ragtime Girls dancing fiddlers'. They also gave their services for free as part of a benefit concert for the Royal National Lifeboat Institution at the Empire Theatre, Newcastle (Newcastle Daily Chronicle, 29 May 1913).

 

I can find no reference to them playing after November 1913 but more may turn up. Crowley is sometimes described as their manager and producer but whatever his role they also had professional management.  In an interview with vaudeville producers Ellis Entertainments Ltd, director Anthony Ellis boasted that 'we were responsible for the appearance of the Ragged Rag-time Girls at the Tivol - an act which proved so popular that it is now, after a seven weeks run at the Tivolo, booked for a year ahead in the provinces, including a return visit to London at Christmas time' (The Era, 22 October 1913). 

It should also be remembered that Waddell was an accomplished professional musician - for instance she as described as 'The Queen of Australian Violinists'  while playing at West's Picture Palace, Shaftesbury Hall, Bournemouth (Bournemouth Daily Echo, 4 July 1910). Neither was she a passive muse for Crowley's spiritual work, among other things she played a key role in the Rites of Eleusis performed at Westminster's Caxton Hall in 1910, another site mentioned in Baker's book.

The Ragged Ragtime Girls

Leila Waddell in the Rites of Eleusis