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contact and exchange. If, for many years, this socially diverse colony was at the cutting edge of a certain kind of black liberation and advancement, then that was not the work entirely of its founders and governors, in the form of companies and foreign governments, but also of the people who lived in and passed through it. Second, as the image of Freetown market makes clear ( figure 7.1 ), colonial contact zones also had the potential to be more anarchic, sites of multiple experiments and everyday creative acts, in which
that the provenance of origin must take precedence over all subsequent ways of accounting for meaning or forging relations ‘postpartum’. 21 Originary relations exist as one distinctive set among others and can themselves be revisited creatively and curiously from a displaced, disjunctive, diasporic standpoint. Nagra’s speaker is diasporic in both his
reclaim our part in the creative process. So we were black and Asian actors, in a room together, with this shared consciousness and although we didn’t intend to set up a theatre company, it was kind of inevitable. Strangely enough, the whole idea of Tribe Arts came about when we stood in line for the nationwide auditions for Star Wars
On 22 August 2019, a 20-year-old musician called Sheku Kanneh-Mason, an Englishman whose parents originally came from Antigua and Sierra Leone, took to the stage of a packed Royal Albert Hall to perform Edward Elgar's Cello Concerto in E minor, composed in 1919. This piece represented the composer's last undisputed moment of creative genius and importantly signposted the British Empire's exit from the Great War into a post-war world. Kanneh-Mason's performance simultaneously marked the centenary of both the completion of the concerto and the
rejecting the singular, nationalist myths of an island nation and examining colonialism’s impact on British culture, we look forward to future debates and understandings of empire’s afterlives in contemporary Britain. Notes 1 Corinne Fowler , Green Unpleasant Land: Creative Responses
temporal space where the memory of the pandemic could be memorialised. For individuals in quarantine, this space that was created by the enforced separation from normal life resulted in boredom, but also enjoyment. Most importantly, quarantine provided the opportunity for creative and even positive expressions of the Spanish flu experience. A key site of this can be seen at North Head Quarantine Station, near Sydney. At this long-established quarantine site, individuals were held until they were deemed to be flu-free. The enforced concentration of
the signature of an armistice or that of a treaty, but rather a timely process of transition from war to peace with societies immersed in new contexts and facing uncharted challenges. This chapter mobilises this methodological approach and considers the 1918–20 British moment in the Middle East not as a return to a pre-war status quo or an unambivalent state of victory, but rather as a transitional and creative phase in the Empire's history. Through this three-year time frame, it closely examines the transformation of the British wartime occupation and
remained in contact with many ‘Old Internationals’. She also channelled her energies into the creative arts, as a skilled carpenter, woodcarver and potter. Maynard Carter died on 2 March 1962 aged seventy-six. She was remembered as a ‘woman of many parts’, ‘ever in the front line of progress’, a ‘distinguished nurse and a devoted friend’. 94 Conclusion Applying a biographical
typifies ‘the Palestinian’. In an interview with Dabbagh, Lindsey Moore asks whether the author agrees with Edward Said’s description of the state of exile, the idea that not being at home can be ‘a creatively, intellectually and politically enabling state’. Dabbagh supports this sentiment, but adds a crucial caveat: ‘I have a British passport … I doubt
after that then featured several smaller reggae acts catering to the local community. 50 While Parkes’s turn to the local community was not what he had envisioned in his initial bid to purchase the Academy, he quickly adapted. Entrepreneurs had long found creative ways of courting alternative market segments. In London, from the late nineteenth century, this included a growing