JAZZ POETRY NIGHTS LONDON

Monthly Jazz Poetry Nights continue to shine at London's Pangea Project .
Despite a sinister cold night, on Wednesday February 10th we kept the same vibe of diverse, unique acts:
1-Jazzman John Clarke (UK) : dynamic, lively, bebop motor-mouth
2- J.J.Adamson (Kenya): Marimba, percussion, guitar and vocals
2-Burnt Toast (Canada/ UK) : Urban London; hip hop, music and words

Burnt Toast: special

3- Ursula T (Germany)- International lady read from her three collections
4-Graham Pollock (UK) : Dry humour, subtle delivery; strong message.
A typical Pollock poem:
Christmas card people . . .
We used to phone
Each other regularly.
Then it became
Occasionally,
And then very
Occasionally . . .
After a while
Our only contact
Was a card
At Christmas.

I don’t bother now.
I just don’t
See
The
Point . . . .


5- Freddy Macha (Tanzania): Afro jazz and lyrics (Host and MC)

Jazz bassist
Andre Mathurin (St Lucia)


Suprise guests
Free Jazz Musicians (UK) : Tunes Under Fire : James Gilbert (Sax) and Doug Kinloch (Guitar).

Another special presence was local Stoke Newington Photographer David Green whose snaps on the night will hopefully find their way here...

NEXT JAZZ POETRY NIGHT - 17th March...

JAZZ POETRY NIGHTS LONDON

Jazz Poetry Nights aims at promoting jazz music and poetry from all corners of the world in London.
This month we are at the Pangea Project in Hackney.

We began during the London Jazz Festival in November 2009. If you like jazz and music in general and would like to hear and see different performers of literature step in, entry is free.
For those looking to perform please email your queries to : kilimanjaro1967@hotmail.com
This is not a one off.
It aims to continue....

LOUISA LE MARCHAND

AN INTERVIEW WITH GREENWICH BASED WRITER, MUSICIAN AND MULTIPLE ARTIST...
When Self Publishing Becomes the Best Alternative...

I have known Louisa for over a decade;one of those unique and self-motivated innovators; an unsung woman of the hour. She is out there in rain, mist or sun working... never waiting. She might stumble, fall or slip; and others might point fingers and say she is not doing it right; but she always gets up, keeps things going; always with others, rarely alone, in the community, never selfish...

Louisa works regularly in schools...
As I write this I am thinking of some of the many talented and original artists like T.S. Elliot and Charlie Chaplinwho had to run their own things before being widely recognised. I have just finished reading "Whispers in the Mists of Time" by this Greenwich based lady who has the kindest heart and most creative mind. My conclusion? If you are looking for a simple but dear Christmas present (of quality) in these dire times, order a copy of this remarkable book.
Details at the end of this interview...


THE INTERVIEW...

Q.It is impossible to pin down a multi-talented person like you. How would you describe your abilities in a brief conversation?
LLM
I always say I am an artist, I suppose a multi-media artist might explain it. You know yourself (you’re the same); you just find different ways of expressing the spark of art that drives you. But my core, my essence I feel is the poetry, (although I love performing) when I write there is no one else, I feel connected to something greater than myself its very powerful, very exhilarating.

Louisa blowing her way in a story telling performance at the National History Museum, London, 2006. The piece takes you across different cultures.
Q.
A multi-skilled friend of mine says when he is doing one of his activities he just concentrates on the given task. Next time they see him doing something else he loves seeing the surprise on their faces. Do you identify with that?
LLM
Not really if anyone asks me what I am doing I will tell them, but I suppose there are always lots of other creative things floating around, on the back burner so to speak, which I dip into and suddenly will surface. I also have a business persona that I adopt to take care of the business side of things; she would probably fit well in the poem Debating with Myself, but it helps to put on a business hat to become a different character as I also love to act as well as sing.
(A line from “Debating with Myself” :
“THE PSYCHOANALYSTS HAVE ANALYSED AND THE PSYCHIATRISTS HAVE LEFT
SO NOW TO KEEP A BALANCE I GROW OAK TREES AND LISTEN TO THE
SOUND OF MY BREATHING…”)

Q.
I understand “Whispers in the Mists of Time” might be your first collection but you have loads of other unpublished poems?
LLM
Yes I have been writing poems all my life and now have hundreds which come when and where they choose, sometimes I am prolific sometimes nothing for ages, but I don’t try, they come when they are ready. I started to keep them in the early 1980’s, after one of my many close encounters with death. I was run over by a motorbike and landed on my head, unconscious, blood from the ears, brain trauma and lost a lot of the use in one arm and the opposite leg for several months. My poems became a refuge, that and the meditation. So instead of just discarding them I kept them, mostly for myself, it was a long time after that when I showed them reluctantly to other people that I realised people liked them; that they had something from them.

Q.
Why did you decide to self publish?
LLM
I decided to publish through our organisation, Global Fusion Music and Arts because lots of people who had read the poems kept asking when they could buy a book of my poetry especially after I did an exhibition of my work in 2001. The publication of the book coincided with the tour of the new album Jazzmoss which itself comes from my poetry. It is a financial risk and creative risk, but as I know only too well, life is too short, if I had waited for someone else to publish them it might never have happened.

Greenwich, 2004. Louisa flanked by the Fusion Factory Band the core and heart of Global Music Fusion and Arts. From left Kaz Kasozi, Louisa, Gill Swan and the late Indian percussionist and kit-drummer, Sukh Saini, who died in 2006.

Q. Many of your poems go in batches or groups with similar themes said in different, interesting ways. One of these is Birthdays written at least 5 times. The last, “Your Birthday” says: “…never forget your own birthday, the one day a year,
Mark it well.”
You were born in the West Country then moved to London. Do you ever go back to your place of birth?
LLM
Yes that is true there are certain themes that seem to re-occur. The reason for that in the case of birthdays for instance, is that I do really value birthdays much more than say, Christmas and each time I wrote the birthday poems was a different birthday with a different experience attached, so that was the voice that spoke in at that time. Who knows there may be more because I don’t write to order it in the lap of the Gods.
Yes I do go back to the West country because I have three sisters and one brother who still lives there. I visit them at Christmas and important birthdays and we speak on the phone. I may go back there to live one day but I love London and would really miss the energetic, multi-cultural nature of London. I feel blessed to have met and become friends with some wonderful people from all over the world and still have so much to learn from other people and other cultures.
It has never been easy for poets to get published. Most of the great poets from the past have self published or set up their own small publishing house to begin with, its only when a poet’s popularity has increased that the larger publishers picked them up, not that I have any delusions of grandeur about my own poetry, but I am glad that people like and feel something from them.

Louisa working in a school. She is not just a performer in education, but a loving mother and a grandmother of her own children and grand children.

Q. Why do you write?
LLM
This is a very good question, I think I write because it is part of who I am.
Some where deep inside myself there is a need to express myself through words, it has a cleansing effect on me, it lifts my spirit and sometimes makes me laugh. Sometimes the poems are deep and touch some very raw nerve and these would bring up some trapped emotions and release them; it can be quite painful, but a very beneficial experience.

Q.
Like your art, talents and life your writing reflects multiple colours and layers. You have serious poems, questioning life and mortality (“Look” and “Questions”); introspective ones ( “An identity of spirit”, “Soul Cleanser”, “Stepping Near the truth”) but some say serious things in a humorous, funny way.(“The Cannabis Man”, “Crick Crack” , “The Plumber from Plumstead Common.”)
Which is your favourite style and theme?
LLM
I don’t have a favourite style or theme, because I don’t set out to write in any particular style or follow any particular theme, they unfold in their own way, its as though they have a life of their own. I don’t edit them once they are written because that’s how they manifested themselves to me. It is nice to make people laugh, but equally its good for people to be reflective, to see life in a different way. But to answer your question I think that the spiritual ones are the most important to me.

The Saxophone is one of her many music instruments...
Q.
As a musician you are aware of sex, drugs and rock and roll. What inspired “The Cannabis Man”?
LLM
I don’t really know, but yes in my younger days I did watch people letting days go by as they were stoned and I have had my fair share of bad drug experiences. But ‘The Cannabis Man’ is not just about drugs it is about letting our lives drift, we may have great ideas and principles but we have to make the effort. I forget who said it but its true, art is 10% inspiration and 90% perspiration.
Q.
What is “Crick Crack” about?
LLM
‘Crick Crack’ is about getting influenza but it’s also about the pain I suffer from in my neck and shoulders which keeps me company 24-7 they stiffen up so they makes a crick crack noise when I move them. It is in fact extremely painful but I have learned to live with it and to rise above the pain, one of the spin offs from the close encounter I mentioned earlier. The poem is also about letting people into our lives who we think we can trust, then they abuse us until we realise what is happening and remove them from our lives.

Q. The poem “I watch a Nightingale” expresses a curious observation ….is that connected to your personal fondness for pets and animals?
LLM
I love nature; it reflects the creator, creation and our own need to commune with it. I have had dogs and cats in the past, the dogs were very good for me because they love unconditionally and it was so nice to go outside into nature morning and night to walk them. No matter what the weather is you really see the seasons changing and notice small details.
Q.
Some of your poems reflect a musical ear (“Sound”, “Song of Universe”). Is it natural for your other art forms like photography and music to blend into your writing?
LLM
Yes I feel very graced because there is a natural interplay between the many art forms I am involved with and I’ve learned to draw on all of these skills and creativity in what ever I am doing, its very exciting.
Q.
Your titles are very interesting. Some give hints to the theme (“Soul Cleanser”, “Sleep”, “The Burdened Traveller”), some don’t (“Last Doorway” which is about death) others are from famous works like Hemingway’s “For Whom the Bell Tolls.” How do you compose your titles?
LLM
Many of the titles from a line in the poems or to I try somehow to show the essence, or meaning within the poem.



Q.
Certain poems are difficult to read because they have a lot of word play. However they have very powerful themes. I am talking of “Tick Tock” and “A Psychopath and a Policeman.”
LLM
I have always been interested in words and wordplay it’s the child in me, if you listen to children they are very playful with words and naturally find rhythm.

Q.
One of my favourite pieces is the one about the hypocrisy of the extremist religious (“Born Again”). Are you religious?
LLM
I don’t consider myself religious that implies some sort of dogma, but I am spiritual, I meditate and have done so since 1974. I try to be aware of and respect others beliefs and religions. I am very interested in world religions and have read many of the main scriptures as well as some little known works, it is a constant search. I was very influenced by my paternal grandmother who lived in India for most of her life. She tried to live in the UK but soon returned to India, giving up all of her worldly possessions to become a Yogi in the Himalayas. From there she wrote to me the most beautiful and inspiring letters about her spiritual path and so from an early age I have been drown to the East for my spiritual sustenance. “Born Again” was based on a first hand experience, as are most of my poems really.
(Some lines from “Born Again”
YOU TELL ME YOU HAVE BEEN BORN AGAIN
YOU HAVE SEEN THE LIGHT AND WALK AWAY FROM DARKNESS
YET IF OTHERS WALK ON SEPARATE PATHS, THEN YOU CURSE THEM AS THE DEVIL
THE SUNDAY CHRISTIAN RITUAL, WILL CLEANSE YOU OF YOUR SINS AND TAKE AWAY YOUR GUILT
BUT TO GIVE YOUR LOVE UNCONDITIONALLY, IS NOT WHAT YOU ARE ABOUT)



With Louisa at the start of the Jazzmoss tour Autumn 2007.

Q. While being critical of the colonial history of Britain (“The Bloodstained Inheritance of the Empire” ) you are equally proud of her goodness (“To be English”) and internationalist (“Rhythms of Africa”). Are you a political person?
LLM
I don’t consider myself a political artist more a spiritual artist. But I am political, I suppose somewhat left wing, and believe in a fairer society. I feel that reparation should be made for the slave trade and for the great injustices of the imperialist days. The poem ‘To Be English’ is a satirical look at what some people think it is to be English and most of what is said in the poem is not pride, more showing the speakers to have an ignorance of the outside world and how much this country is a fusion of cultures. ‘Rhythms of Africa’ on the other hand describes is my experience of falling in love with Africa its people, culture, music, food and its beauty. I hope that one day Africa will be the Giant she deserves to be. I hope that in some small way I have helped to promote Africa because I truly believe in her.

Q.
How long did it take you to write these 120 plus poems?
LLM
The poems in this book cover thirty years, but are just a small portion of the poems I have written and will continue to write Insh’Allah.
Q.
Are you planning another book and will it be the same style?
LLM
Well I would like publish another book, I have enough material, it just depends on how well this one goes. As for the style I did not agonise about which poems would go into this book it was as they came up, some had already been typed, some just came out of the box I keep them in. I do like the alphabetical order though, I might do that again it seems to have worked quite well this time, somehow they fell together some as I had written them that way. Any way I am very grateful to have published this one and the response has been so warm and encouraging. But the real work begins now marketing it.

To Contact Louisa for a copy.
Email: artistlouisa@yahoo.com
Tel. +44-79769-41435

RECALLING -MUSICIAN GIL SCOTT HERON, London 1999

Jazz Café, Camden Town, North West London, has been his favoured concert venue for a couple of years now.
We have been told the gig shall start 9 p.m. but 25 minutes are gone. To make things worse it is a “standing” gig. Half way through the concert some people (especially ladies)massage their lower backs. If you want to sit, you have to book a table upstairs “and eat” says the regulations. Many of us have come to see a great musician, not dine.

photo credits : Amita M.

Nobody announces him.
There is no hint, either. The funk music from more than four JBL speakers is still on. Sometimes James Brown; sometimes Chaka Khan…we are in African American territory here.
A man with a cotton hat slides quietly down the stairs- there are ropes – barriers sort of…so he steps under like someone doing something forbidden. The “I don’t care vibe” is here- it will colour the gig from start to end.
Gil Scott Heron sits behind his “Rhodes” keyboards and is talking intimately to us, as though each of us is a pal in his living room...
Tall, lanky,free spirit, his hair has shades of grey ( 50 this year);the teeth seem cracked in some places; tennis shoes, a black jacket. I haven’t seen him for a couple of years ; physically he has aged, but the vigour, intellect and wit has gotten fresher and better.
We are more than 200, mostly whites, trickles of blacks here and there-an Indian woman (tells me she is from Delhi), a Greek who says he lives in New Zealand; but Caucasians dominate this eager audience. Most of us are drinking and listening…
“Good evening…”
His voice booms, a bass; very familiar to those acquainted with his records.
I have been listening to Gil Scott Heron since 1982. That first time an African American expatriate (and former Black Panther member) had introduced me to his work in Arusha, north Tanzania. I especially loved “Grandma Hands” and “Inner City Blues” both also recorded by Bill Withers and Marvin Gaye. I met him after his concert in Bonn, Germany back in 1987. We had a chat and I published an interview in the "African Interpreter" in Cologne months later. (You should read the 1987 interview soon. Check this space)….
Gil Scott Heron’s work has always inspired me as an artist because I can relate to him hundred percent. I am not talking of his personal life style here.
He is an accomplished writer and skilled musician. The struggle of my life has been to try and reach a balance between good music and good writing: verse and melody; rhythm and meaning; entertainment and subject matter and Gil Scott Heron is one of a few artists I know who is able to balance great art form and intelligent conscious content. No wonder, he is regarded as the father of rap and hip hop.
No art for art's sake.
INSPIRATIONAL.
Brings to mind other similarly inclined artists.
Brazilians Gilberto Gil and Caetano Veloso or Jamaica's Bob Marley.
Can you name more?
2
So?
Jazz Café, London, April 1999.
Gil Scott Heron is talking about the end of the 20th Century.
“This is the decade of allergies” (his own brand is “blues allergies”) meaning the feel. It is he adds , “your last chance to feel it. Next century will be information. Everything will be about information…”
Music is oozing through his fingers as he plays the "Rhodes" keys while talking and soon is joined by flute and piano player ( Brian Jackson) thru one of his best numbers :"Pieces of a Man." (“The secret is I don’t play piano…” is he joking?) But he is playing. So what is this supposed to mean? Humility? Modesty?
“I saw the thunder and heard the lighting
And felt the burden of his shame..."

More musicians join in.
We hear “Peace” ( T-shirts are on sale with the tour’s mantra: “Everybody got a job to do, lets work for peace.”)
THE ONLY REASON WE CANNOT HAVE PEACE; IS BECAUSE YOU CANNOT MAKE MONEY WITH PEACE…
WAR MEANS MONEY.
What a line. What a line. Reminds of John Pilger’s take on war... as a dirty money business.
Follows other great tunes. “Winter in America” an amazing jazz-bluesy metaphorical song :
“Its winter in America, and all the healers done be killed or put in jail.”
Somewhere along the way the microphone does him tricks.
His clumsiness, he says is “I just cant handle these things.” One member of the audience helps.
“There are kind guys and kind ladies here. Thanks for your help.”
You might think he is strolling down a confessional road but later after the break he makes a serious comment about the drinks offered by the venue.
“We have been given lots of orange juice. They gave us this juice in a box. A square thing. And they got…so fucking stupid. In a stupid box. All natural. This should be all orange. No Preservatives. Valid June the first. If there are no preservatives it should be valid until today or now…”
3
After the break the performance is terrific. There is melodic backing vocals from rest of band. The pendulum of strong words and great music is swinging; such decorous balance means more instrumentation. Like when Gil Scott Heron gets off stage to let, Larry MacDonalds the percussionist play expertly and long.
Backstage he keeps praising the band using WE instead of I.
“It is because they are such good musicians.” He explains, modestly.
The fans explain the mood better.
Inga Clark, from the Caribbean celebrating her 25th birthday:
“I knew television won’t be televised. I like jazz but never seen him live. I wanted to come here with my friends to see something mellow and educational. I would like to see him again. He is very natural and spontaneous.”
Inga’s friend, Deepa Moodgal (also 25)is a teacher for ex-offenders:
“Show was inspirational. Spiritual. I have heard his records, but first time I have seen him live. I cannot specify which song I liked best – he speaks to everyone and everything.”
Two guys.
Film editor, Alistair Waterson (27):
“My expectations were all surpassed. My favourite is Winter in America…although I like all his music....”
Damon Mangos (27)of New Zealand, graphic designer:
“He is just amazing. Brilliant. He takes personal appreciation of things and gives a general comment like peace.”
4
Backstage.
Other musicians chill out with women and fans. Don Mcgriggs, (bass player) admits he is Gil’s anchor man.
“ I am close to him musically. We play well together, all kinds of music.”
Gil Scott Heron takes my hand after remembering the article I did back in 1987. We go into a quieter room, where two characters join us.
The first, a cab driver, says he knows the musician for 19 years now; they are the same age.
“Gil is a survivor. He has done almost 20 albums, but you cannot find them. He is a legend.”
The other man agrees immediately.
“But he is not that known. Which is good because it has not spoiled his image. If he had got too famous, he would be something different. He keeps the intimacy.”
Is Gil Scott Heron worried about his safety?
“Well not. I am more worried of friends and family who associate themselves with me.”
Is he watched? Like …a terrorist would?
“Of course. But I would rather do what I do – take a position of responsibility than stand on a corner. I would rather do something.”
Yes, this is a A man who has really lived.

Twelve of November...a poem

...first written at Aylmer, Quebec, Canada, 12th November ,1994

when mr. and mrs. god made the world they both knew
houses would glow, flowers shine, cars screech scratch with laughter

mrs. Goddess was the ultimate princess
just like the kings and queens who rule earth’s kingdoms with so much evil today
forgetting the past working for the future that seems bleak
like star trek video games
distorted ,dignified , but worried...

cockroaches used to live in palaces
with mosquitoes as their efficient servants. then came adam-eve and their gang
they invented : conquer, plunder, investment with multi-pesticides pollution…
everybody fled!
elephants, snakes, lions, ruled the jungles
the fish decided waters should be best hiding. everybody started killing everyone. multi pesticides, bullets: survival of the fittest

mmmmh….today. ladies walk tall (feeling low)
men’s eyes hide in fears , guns & beers
the drunk, drugged, stoned shout their myths of a lost
…erection....viagra, viagra, viagra...

parents sleep in separate bedrooms. kids learn to die of loneliness, restlessness, confusion very early on loving hip-hop, ecstasy
becoming masters of spiritual emptiness
(the law of the jungle that god knows so well)

christmas comes.
families eat, belch, embrace
but soon running back to snow, jobs & taxes
extremists, meantime blow bombs : create fear
talking of the end of the world. they love to terrorise those with a power of peace, innocence, providence, excellence, prudence, intelligence….

you are never sure when is your next meal!
you are never sure how long you will live!
floods! hurricanes! famines! earthquakes! wars! AIDS! ozone fear!
sp i r i t u a l h u n g e r!

god! goddess! god!
don’t just sit there ! you made this movie , please sir!
heal your house ! recreate us! bandages are needed…
mrs. goddess give peace makers and lovers more power!
Lets dance the choreography of optimism …
God, do something your highness!

...give more power to lovers and peacemakers!

This Weekend's Profile: Meet WRITER URSULA TROCHE

CONVERSATION with Ursula; Cheerful Poet/Writer of Consciousness

When Ursula Troche was only six years old growing in Löhne, a small German town she used to be upset by the way fellow school mates mistreated a young Turkish girl. They teased, bullied, called her names and did horrific things to her, but at that time Ursula did not understand what racial discrimination was. “I just felt emotional about it…” That crucial experience was the beginning Journey of Discovery and Human Awareness for this London based exuberant writer, photographer and singer who starts her PhD degree this season.


As I photograph her at north London’s beautiful Clissold Park, she is constantly referring to her Trinity philosophy. She always sees people in connection with each other. In her recent self published poems (“Embraceable”) she has a picture taken in Slovakia where the railway station designs reminds her of African painting. Being of Polish, Puerto Rican and German origins, she always sees things in that cultural tripod mix. As she talks and recites her new poem on Nelson Mandela's visit to unveil his statue in London, I realise that the world needs more individuals like this. Ursula is one of the most cheerful, carefree, optimistic ladies I have ever known, who no matter what, rarely moans about the weather, or goes into a self-pitiful trips and insists that “she prefers dealing with the good rather than the pain in us…”
Here follows our chat.
FM- I am going to start with a very taboo question. Many Germans I have met abroad are ashamed of the country’s horrible Nazi past, subtly embarrassed to reveal their origins….
Ursula- Perhaps I should write about a poem about that. I used to have a friend from Ghana who used to say many Africans are constantly trying to get rid of their accents here in Europe. It is not just Africans and Germans. In the days the Irish used to be called dogs here in England their accent was teased. Everyone has hang-ups. This is one of humanity’s major problems.
FM-Your writing is very honest and straightforward. No gimmicks…
Ursula – Writing honestly and straight to the point is almost a kind of survival technique. The system we live in is often so suffocating that the only real and lasting liberation one – or at least I – can find is by discussing all the subjects that the system neglects or distorts. I want to make space for and give opportunity for liberation.
FM-“Embraceable” has no ISBN number. Are you rebelling? It is such beautiful work
Ursula – I wish ‘Embraceable’ had an ISBN number. When I put it together, I found it too much hassle to get one. I should really do it, get it reprinted or, ideally, find a publisher for it.
FM-Most poets and authors start writing early. You seem to have begun late; after living in London for seven years.
Ursula- I had only really started in 1998 because in the previous year, I had finished my degree in Politics and African Studies. It was a conservative experience actually and while writing my essays I had to resist that. Then when the degree was over, I sort of continued my resistance with poetry. A motto then and now for me was ‘I write what I like’ (Steve Biko).

FM-There are 23 poems with certain re-occurring themes.
Dance, People, Race and Culture, Being female, Freedom and Responsibility.
Are these your major concepts?
You don't dwell on the usual predictable topics of young active women : personal love, feminist politics, etc. Are you above that?
Ursula- Yes, the themes in my booklet are definitely my typical themes because these are the themes that move me, upset me, inspire me: these are the themes I live with. If these are not the usual topics one would expect of a woman like me it’s because I don’t want to repeat what’s already been said or written about. Further I am looking for more depth and engagement when discussing what happens in society. So I have this urge to speak out in the way I do because sometimes it feels like nobody else does. I’ve been involved in debates around identity and all the things you’ve mentioned because it just sort of happens to me that way because these are my experiences.
My main concerns in life are to do my contribution to re-establish an equilibrium (i.e. equality) in society that has been missing for so many centuries. And many of us are suffering from the absence of this equilibrium. Here I want to show in particular how everybody can and should get active, how I as a white person and a foreigner relate to and engage with issues to do with race relations and why understanding, dialogue and some kind of Afro-centricity is necessary for untainted life.
FM-Are you a writer by choice or by accident?
Ursula- I am definitely a writer by choice. I may have started off ‘accidentally’ but I feel that, as I approach deeper levels of liberation and more urgent longings for a revolution, I will continue. Also I think that doing this sort of thing is the way I can contribute to the overall struggle for liberation, for humanity and harmony. This is my contribution and ever since I have enjoyed the discussions and friends I have made as a result of practising my approach.
FM-You have created and raised crucial historical issues in the “Overstayer-Without a Viza” poem.
“I sometimes think that of all the African peoples
To reach Europe
It must have been the Yorubas who arrived first
Because the words Yoruba and Europe sound so alike …”
You claim the word Europe comes from the Nigerian tribe word “Yoruba…” Where did you get this argument?
Ursula- Europe =Yoruba: whether it comes from my head or creativity? When I write I seem to be really inspired, so thoughts definitely come from a place beyond me but I pick them up and put them to paper. I am fully aware that these are unusual and unexpected issues, especially coming from somebody like me, but this is just why I find it so important: 1. to get people together, 2. to get them thinking along different lines, 3. to dismantle the hegemony of distorted thinking that is the cause of divisions and inequality.
FM-You say in your blurb that you do research on what you write. Which of the poems was researched in this collection?
Ursula-The poems weren’t researched as such. But my research is on the same topics. Beyond engaging with and initiating innovative debates, I also deal with the issues academically because I don’t want to miss opportunities to dismantle that hegemony of distorted thinking, as I had put it.
But before any research, all the issues I discuss just ‘come out of me’, simply because they are so important.

FM-You also sing, paint and do photography. Which is more important?
Ursula – I haven’t painted for long although I like it a lot and will come back to it when I have more time. Singing is something I’d like to do more. I do sing my poetry, so I have a partial outlet there. Photography is probably what I mostly do these days apart from poetry, because I like to catch the beauty of nature, the rhythms and harmonies of natural life.
FM-How many copies did you publish and how can readers get hold of this book?
Ursula– For a start I have only had 500 copies printed. I should start putting them into shops, because at the moment I am just distributing them myself. So I could be contacted. But let’s talk about it, I could leave some at Centre prise Bookshop in good old Dalston (East London) for example. Further poetry-collections are also planned.
Contact Ursula for readings or speaking engagements :
ursulatroche@yahoo.co.uk.
And if you are more curious about Ursula's writing please read here.

Read another recent Profile.

A Saturday Afternoon with Mariam...

This Weekend's Profile

Mariam has that "rare something" that photographers love. She does not have to pose or prepare for the shot.


Mariam's body, eyes, vibes, countenance, rhythm, manner and moods...all sink, swim and dance with the camera. She doesn't have to do anything. It is all there given to her by nature's creation. Light and shadows are her mates.



Mariam does not have to dress too much (it is like those folks who do not have to speak too much to prove they are right) She has that "hard to find" magic you see in the clouds; in a glass of milk, in dew, in trees, in your happiest hour; in someone's infectious jokes that make you laugh.
Something.
Do you remember the song?


And....

Mariam hails from Uganda, in East Africa surrounded by Lake Victoria. It is no wonder this place is called the pearl of Africa. A pearl is a unique gem.

The Fly

came in to feed on our leftovers
what you call dirty, rubbish, junk, garbage
is someone else's FOOD
your joy could be somebody else's
pain, pain, PAIN....

and so !
the fly well fed and satiated
wants to leave our beautiful kitchen
our home is suddenly his prison
as he yells and buzzes and flies
around the white bulb...


your sanctuary could be
someone else's agony, agony , AGONY
and somebody else's depression may
be your wasted time, wasted time, wasted time

and so...
we chased her out!
while the dark cold outside waited;
we limbered in the headache she was creating
get out, get out, we shouted...

the three of us scuffling with brooms
towels, newspapers to kick the menace out! Out! OUT !

First time I...

was
Born I learnt that breathing in

nature

...is the FIRST thing You do and the LAST
Thing you will ever do.

every other Thing ....you Experience .................................................In the middle and centre

Is- a -long-sweet -sour-milky-murky-gorgeous journey…


a long up and down, left and right, safari…

between that
Beginning and…ever lasting

.... yet start of another deep, deep infinite ...cycle....

...so be reminded to be in nature, to breathe, to swim, to exercise, to jog, to walk, to whistle. Love thyself and respect these skins and barks and leaves and waves of our creation and health.

First time I...

rode a horse

was on this beach in Búzios, near Rio De Janeiro, Brazil, 1990.
We had been swimming and enjoying the waves of the Atlantic ocean. Days and hours gone. Then it got monotonous. Out of the blue appeared this little boy with a horse. You paid him a small sum for a couple of lessons. Things like that always happen in Brazil.
They also unfold more details...
The boy was accompanied by his parents; they had more horses and were hiring them to other people on the "praia" (beach in Portuguese). I always thought riding would be scary but all what that cool smart boy did was to show me the ropes, and let me carry on with it. A good teacher, they say, makes a good student.
Sometime later, I met the boy's family and rode much more...
They were "ciganos" or gypsies.
All they did was hire horses; thats how they made their living. I found out that this very beach had become well known back in the 1960's due to none other than the famous French actress, Brigitte Bardot. She was filmed on the same spot that the horses galloped. On the same fresh air we breathed and that wonderful calm boy, not more than eight years old, yelling: Vai! Vai! ................go on! go on! ....great little teacher.
He must be a grown up man by now.
And that horse?

And the photographer?

Regina Celia Sampaio...