Part 5 #HayFestival: The Iconoclasts

You are probably suffering from Hay Festival fatigue by now as you notice that just 2 1/2 days spent there produced a whole week’s worth of output. Anyway, after a short lull yesterday, here is the last of the posts on this topic. 

I mentioned in my first post that Hay Festival does feel a bit like it should be part of the Henley Regatta, Ascot Races, Wimbledon summer circuit, although in a fairly muted way. But the festival organisers are trying hard to incorporate more diverse voices into the programme and some of these events have been attracting a considerable crowd. Nevertheless, it is amusing to play the game of ‘spot the false liberal’, who’ve come to the event to establish their ‘tolerance credentials’ and are slightly nonplussed or unmoved by what is being said. [I suppose this is where my status as an ‘outsider’, albeit a white one who speaks English with a flawless accent, comes in handy. I lull them with a false sense of security and the then – wham! – am hit with a vicious side-glance or nervous rictus.]

The Dylan Thomas Prize winner Kayo Chingonyi is perhaps the kind of black man that the Hay audiences are most comfortable: born in Zambia, he came to the UK as a child, is well-educated and widely read and speaks with the required accent (this is important when I compare him to the other two below), has published two poetry pamphlets before his debut volume Kumukanda, and has been winning accolades from the established literary community, including residencies, shortlistings, judging poetry competitions, being poetry associate at the ICA and so on. In other words, he has played by the rules and been successful, so we can think of him as a ‘good immigrant’. If he had arrived in a suit and tie, it would have been like Sydney Poitier in ‘Guess Who’s Coming to Dinner?’.

I’m not saying this to make fun of the poet, who was indeed most impressive and felt no need to pander to the audience. Yet it has to be said: he was signalling all those things which the largely pale and posh audience could understand and accept. But I really enjoyed it when he started talking about growing up in a multilingual home, that Bemba was his first language but English is the only one he can express himself in poetically, and that he feels the loss of that native tongue. He talked about the different texture of languages when you grow up multilingual, how you search for the chewiness of a particular word which might be missing in the other language. He was very modest about his poetry, saying that the moments when he feels most like a poet are when a word or line or poem takes on a life of its own and he says to himself: ‘That’s not absolutely awful!’. But that feeling never lasts too long.

Kumukanda is a rite of passage in his ancestral tribe, one that he never undertook back home, so in his poetry he describes the rites of passage of an immigrant black child in Britain. He told us about being discriminated against, listening to pirate stations and rap and making mix tapes, his discomfort with his own admiration for Eminem, the ‘white man’ who made rap acceptable. Yet in his poetry he warns against those easy generalisations, against typecasting of black people. His poetry is witty and just the right amount of angry without sounding resigned or bitter. I wonder to what extent the poem below is autobiographical, but it doesn’t matter, because it will be familiar to many.

My agent says I have to use my street voice.
Though my talent is for rakes and fops I’ll drop
the necessary octaves, stifle a laugh
at the playwright’s misplaced get me blud and safe.
If I get it they’ll ask me how long it takes me
to grow cornrows without the small screen’s knowing
wink. Three years RADA, two years rep and I’m sick
of playing lean dark men who may have guns.
I have a book of poems in my rucksack,
blank pad, two pens, tattered A-Z, headphones
that know Prokofiev as well as Prince Paul

So the content of his poetry is less comforting than his appearance might make you believe.

Akala is the less acceptable face of black youth: with dreads, hip-hop artist, poet, political activist, founder of the Hip-Hop Shakespeare company, brother of Ms Dynamite, he has produced a book called Natives: Race and Class in the Ruins of Empire. He talked eloquently about growing up poor and mixed race in Camden, about suddenly realising that his mother was white and the conflict that led to during his teens, how he very nearly became a bad boy and certainly had plenty of friends who did, but how he was treated very differently in Jamaica because of his lighter skin and British accent. He considers himself lucky because although he was economically poor, he was culturally rich. He’s been called ‘unpatriotic’, Britain hater, but as he said: ‘If you’ve got a problem in the family, you don’t do anyone a favour by avoiding talking about it. So perhaps what people are trying to tell me when I dare to criticize anything about Britain, is that I am not really part of the family.’

He explained why he thought that a lot of the present-day discourse about black on black crime is not based on actual statistics, but about stoking the flames of fear, about pitting class against race and thus not having to deal with either. ‘We can’t afford racism and classism as a society, because it leads to so much wasted potential.’

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Last but not least, it was fascinating to see Anthony Anaxagorou again, this time in action with a predominantly young British audience (you might remember I brought him over to Geneva Writers Group for a memorable workshop on performance poetry). He ruffled a few feathers back then but had a mostly rapturous reception, and it was the same now. The young people loved him, while their parents were somewhat less sure about his ‘working class London accent’. He talked very openly about growing up without many books and aspirations, but how he taught himself the craft of poetry while being stuck in a series of dead-end jobs. I can personally vouch that he has reached an almost encyclopaedic level of knowledge of poetry and literature by now, and that he can speak to a wide range of audiences. He also spoke about how he very nearly got caught up in a life of petty crime, how he often gets asked ‘But where are you from?’ because Cypriots are racially somewhat ambiguous, too dark for some, too light for others. And he is very openly political, because, although he often talks about things he hasn’t experienced personally, he feels that as a poet he has to highlight the problems – although it’s policies, not poetry, that can offer solutions.

‘Poets are perceived as nouns but we’re actually verbs. Poeting is a way of engaging with the world. I can’t do anything else but try to organise the world’s turmoil through a sequence of words.’

I was very sad to miss his evening performance at the Hay Poetry Slam (together with Emmeline Armitage, Sabrina Mahfouz, Sophie McKean, Zena Edwards, Rufus Mufasa and Akala), but I was facing a very long drive home and, after getting lost on my way there, I was afraid that I would do the same on the way back, but this time in the rain and dark. I’m sure they put on an amazing show, however.

Last but not least, if you want to see a literary festival that has diversity at its very core, and hopefully diverse members of the audience as well as participants, then you should check out the Bradford Literature Festival.

 

 

 

 

6 thoughts on “Part 5 #HayFestival: The Iconoclasts”

  1. Those voices are such an important part of literature, Marina Sofia. They remind us that part of growing as a society is being uncomfortable at times. I’m glad you shared this. And I’m glad you took the time to listen to what they had to say.

  2. This is way cool. I’ve seen Akala’s book around, but our bookshop’s demographic is rather like Hay—it’s hard to sell them something that’s challenging them, though of course there *are* some customers who want to be challenged.

    1. I don’t understand this lack of curiosity about ‘what the other side of the story is’. I’ve always been interested in hearing other voices. But maybe that’s why I became an anthropologist. (And I know that the history of anthropology is littered with corpses of patriarchal attitudes, but it was still more progressive than the times they were living in.)

      1. In my experience, it’s less a lack of curiosity than a sort of condescending squeamishness. It’s most often dressed up as “not wanting any miserable/tragic/depressing books”, which is—not always, but very frequently—code for “books about people who don’t live the way I do”. The idea that people can live in all sorts of ways and experience all sorts of adversity, and yet not necessarily have lives that they would describe as tragic or depressing, tends to be elided entirely—let alone the possibility that characters whose lives ARE tragic or depressing might be worth reading about, that reading might be for something other than escapism or self-image reinforcement.

  3. Really interesting post Marina. Surely the point of reading widely is to broaden our understanding of other people’s lives, cultures, experiences and points of view? Or am I just being naive?

    1. Well, if you’re naive then I am naive too. I also heard some mutterings that nowadays the prizes are all going to the BAME writers, reverse discrimination etc. I don’t think that’s true, but even if it were, if you have several works of equal merit and you give the prize to the BAME writer, I I’d be OK with it, because it’s their time to shine and they’ve been waiting for this for a really, really long time. And I don’t think anyone is rushing to give prizes that are not on merit!

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