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In this special eighth edition of the HybridLab fanzine we’d like to honour the wonderful multicultural roots of London, especially evident on the east end streets HybridLab regularly roams for rare unsigned musical wonders. However the extravaganza held at the Trafalgar square festival lured us in to more central climes. To celebrate the vibrant diversity of Asian culture in our city, London’s Trafalgar Square has played host to ‘India Now’ festival. As mayor Ken himself put it at the festival launch “Now will be an opportunity to experience the richness of Indian culture and will underline the relationship London has with India”. Now in its sixth year, the events programme is proving this relationship stronger and more dazzling than ever, incorporating traditional dance and music with the modern technology of motorbikes and London’s love affair with Bollywood film.
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The words “Asian Fashion” conjure up magnificent images of traditional clothing as worn in the extravagant Bollywood films India is world renowned for. But, in Asian communities in Britain, there is a much wider spectrum of Asian fashion. Two dances, staged at the Trafalgar Square Asian Festival reinforced certain cultural contrasts for the masses. Nagarantharan, created by the Attakkalari centre, was a million miles away from the Bollywood stereotype. Dancers were head to toe in black with large luminous pink headdresses for their bold entrance. It was a powerful modern dance, portraying the chaos within the streets of India. Juggernaut, created by Tara Arts, was a wonderful blend of East meets West with some dancers decked in vibrant colours and elaborate Asian clothing, while other dancers wore red white and blue with bowler hats, symbolising Britain. Elegant and mesmerising, the dance encapsulated the relationship between India and Britain, sometimes conflicting, but progressing and learning from each other, and had the audience dancing and clapping with them.
Does this unique mix of British society and Asian culture influence British Asian fashion? “Asian fashion is no longer a statement,” says Mahir Anjun an Asian woman living London. “It’s not like 5 or 10 years ago, Asian fashion is now more accepted and mainstream.” However younger generations tend to prefer wearing Western trends, sticking to Asian fashion “during weddings and funerals”. Ansuja, a teenager, felt “Uncomfortable in Asian clothing, I care what people think” Peer pressure and the need to fit in seems to make many young girls keep their kameez’s locked in their wardrobes. For some, growing up in a multicultural society has encouraged them to have fun combining both cultures in their fashion. “I love to make it up as I go along,” says Radhika, “a bright kameez looks gorgeous with a pair of jeans!” Not surprisingly, women of all races were wearing beautiful saris proudly, hailing from the melting pot of London. Integral parts of Asian fashion have filtered onto the British high street, look in any shop and you’ll find bright colours and detailed embroidery that is not only hypnotic but also easily wearable. Asian fashion is sure to continue to become part of the British subconscious, with more young people incorporating their roots into the latest trends, creating a truly different sense of style.
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Bells, a collaboration between the Akademi dance company, sculptor Naresh Kapuria and British Asian composer Niraj Chag provided a spectacular highlight to the Indian themed Trafalgar Square Festival on Friday 10th August.
Ignoring the irony that a cornerstone of the Square is a statue dedicated to Major General Sir Henry Havelock KCB in gratitude of his suppression of Indian mutineers in 1857, the festival, held in the 60th year of Indian independence from Britain, was a celebration of the enduring trade links between the two countries and also the vibrant contribution Indian culture makes to British life.
Kathak dancers, from south Asia, including an African male, danced effortlessly in a ritualised movement sequence while eight white aerialists from Belgium’s Theatre Tol mirrored the spirit and intensity of the Kathak below. The soundscape, a mix of classical Indian instrumentation mixed with contemporary styling and multilayered beats, was provided by leading Asian musician/composer Niraj Chag. Live performances by tabla maestro Hiren Chate and violinist Amy Ericx also added an eclectic element to the performance.
The collaborative piece was stunningly original in its conception and yet also deeply traditional. Its earthly and spiritual theme provided by south Asian and white European performers, accompanied by traditional Indian tabla and European violin, blended seamlessly to provide a rich, dynamic and electric mixture of movement and sound. The enthusiastic crowd was mesmerized. A real triumph of the evening was the mixing of cultures in a joyous and harmonious celebration of diversity drawn both from tradition and innovation.
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Monkey Business
Warm folk rock group Monkey Rope have composed a little tortoise of a number ‘Where it counts’ written by lead singer James. I say ‘tortoise’ cos it’s slow but has a steady happy-go-lucky-swing of a drum beat which James admits to sampling from Cat Power’s song ‘Living Proof’. We’re all addicted down at the lab and suggest you see them play live at the Dublin castle on the 13th of September. Oh and it’s trumpety too - huzzah!!!! |
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Tank Engine Change Track
Fans of Tank Engine will be pleased to know that although they are not performing any live gigs, they are still fully committed to writing and recording new material. (we previously reported that they were no longer recording – doh!) Visit www.roguetune.org for information. |
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