Down with this sort of thing

Fans of Father ted will instantly recognise the quote above. I was reminded of it when I spied the graffiti pictured below. This is written - carefully - on a wall at the western end of Portobello beach.



Close to perfect, but fails to add in the apostrophe. This threw up questions for me. Did the author stop at "work", but reflect on capitalist, or even otherly-politicised pedants quibbling over the absolutist sentiment? Did s/he then return to add in "4 most of us !!!"? It would be more satisfying to assume that this was a well thought out attempt, seeking gently to persuade the reader to agree with the sheer reasonableness of their cause. Just like fathers Ted and Dougal, and maybe just as effectively.

An ecologically slanted comment might have been more pertinent, as the presence of icky stuff pipes nearby would merit. Although, I'm not sure these are still gushing out unmentionable effluvient any more.
I took the pics with my phone camera, hence the grainy quality.

Thoughts and opinions

Able to find offense in seemingly innocuous conversation, political event, TV programme or other entertainment written or performed and especially in interpretation of history recent or past, I am regrettably equally adept in offending others.

Not normally my aim, sometimes it is unavoidable, words once spoken prove impossible to retract. At other times, blundering ahead while squashing to near oblivion the inner voice recommending silence.

You've been forewarned.

400 Women is an exhibition honouring the hundreds of women murdered, more or less brutally in Cuidad Juarez, Mexico, since 1993.  Despite women locally and internationally, protesting to the Mexican government about this atrocious example of gynocide, the Mexican government concluded its investigation claiming no federal laws had been broken, although the killers 'continue to enjoy impunity in that region'.

Women and girls are abducted, raped, murdered, missing, beheaded, unidentified, subjected to sexual violence tourism, exchanged between drug cartels, used as human sacrifices, mutilated, disappeared; aged 3 years to over 60 years. And it continues.

Tamsyn Challenger created this project which oversaw the gathering of over 100 images, descriptions of the women and girls, even forensic reports of their murder or just her name, by local and international agencies working in the area. Artists chosen for their sensitivity, were assigned a woman or a girl and the given criteria for producing an artwork commemorating her life. Each piece had to be a similar size in practially any media and 'echoing an altarpiece'.

On a comfortably sunny Edinburgh day moving from space to space in a shambolic old school, I wept my way round this most moving, heartbreaking memorial to the women and girls from so far away.

I was not alone. Numerous other middle aged women were sobbing or quietly sniffing into sodden tissues as we silently and reverently exchanged shy glances, half ashamed to be seen publicly mourning.

The comments book was too painful for me to read more than a few entries, enough to know that the writers had also been deeply affected. Exiting back into the High Street in festival time, was too jarring and I retreated home taking many hours to find some emotional balance.

If this exhibition arrives in your town, go. Not to go is an act of dishonour to the women and their families who will never find justice. Not to go is an act of encouragement to the patriarchy that glories in the spilt blood of women and girls. Witnessing and believing is an act of defiance that helps chip away at the established order that otherwise denies men's violence against women and girls.

So far, so inoffensive.

All week and especially today, oceans of emotion, acres of words, hot air incalculable even by Avogadro have been expended on the tenth anniversary of terrorist attacks on America.

Nothing can take away from the experience of shock, loss of life and injury on that day. Individual suffering, bravery and long term impact on many lives is noted and respected.

However, I'm not the only person to have spent a decade disgusted at the prolonged outcomes, by criminally stupid leaders and those whose excuse for torture and humiliation on other nationals, is that of following orders.

So much for the behaviour of some individuals from the avenging armies, it is the never-ending impact on the lives and deaths of women in Afghanistan, Iraq, Packistan and so many other countries subjected to bullying from imperialistic powers whether for oil, geopolitical influence or gratuitous display of militaristic power.  It's not like they needed more patriarchy to oppress them, they had enough home grown violence.  Surely, hearing that nowadays one in eight women die in childbirth in Afghanistan will provoke reflection on the efficacy of the 'peace and security' constructed by the liberating armies.

Sharing of 'where were you when you heard?' stories are everywhere. Insignificant, and exposing of my all round ignorance, though it be, I'll share mine.  I had just left a pub lunch with the only person I then knew from Washington, USA, and returned to my office.  Colleagues wondered why the phones were so quiet. Then we found out. I was so grateful to know that my friend was safe in an Edinburgh pub and not in his flat close to the Pentagon.

But the whole twin towers aspect, meant little to me. I'd simply never heard of them. I refuse to believe I'm the only one. And I think that unawareness has coloured my whole response to the attacks. I saw a plane flying into a tall skyscraper, not a cultural, economic icon of power. Then it happened again.

I comprehend the loss of life, as much as it is possible to do so. But I equally comprehend loss of life in other atrocities, such as that described in Mexico. I very forcefully try to comprehend why some lives are valued so much that countless more are massacred in revenge, while others, such as those above are denied, dismissed and discounted. It remains incomprehensible.

You may find that offensive. I find it rational.

Final notes

The two last shows I saw in the fringe, I also saw last year. These are Sig Other's choices, but I have no complaint about them.

Fascinating Aida were on even more sparkling form than previously. Their new material, especially the bitingly accurate new agey proclivities of certain sections of the female population. I laughed while acknowledging my own forays into that wide field.

Their glorious vulgarity had me in tears several times and laughing to the point of breathlessness. Politically, they judged the sentiments of this Edinburgh audience well. There is something uplifting in seeing and hearing mature ladies rip Blair and his ilk to shreds with a few choice phrases.

Last year, I called for Fascinating Aida to get back on TV and reach a wider audience, but I realise that TV would probably mean a dilution of their political voice. I will be content with viewing them annually at the fringe.

Paul Sinha also gained approbation in last year's write up. He again delivered his personal and political material in fine form and added that he will be more on our TV screens in a quiz programme later this year. I might just look out for that. Oh - and he is in luuuurve. I really hope that works out for him.

Drought and Rain

Drought and Rain (re-creation 2011)
I thought that was the end of the whole fest experience, but no! Friend M offered a free ticket to a festival show. Not one I'd heard of, but ever eager to see as much as possible I accepted, then looked at the programme. Vietnamese grannies choir said K, another pal who already had a ticket.  I'd agreed to go, even though L yet another friend dangled the tantalising idea of deckchairs and vodka near the Castle to listen in to the Brian Ferry concert that night.

You may appreciate my dilemma.

The Vietnamese grannies won. I'm glad in many ways, but will always wonder what I missed.
 


From the programme
French Vietnamese choreographer Ea Sola celebrates historical and cultural memory and meditates on the human cost of war and imperialism in Drought and Rain (re-creation 2011). Together with a group of elderly women from the north of Vietnam, whose singing had consoled soldiers on the front line, and an ensemble of virtuoso traditional musicians, Ea Sola has re-created this moving and beautiful work. First seen in 1995 it offers deep insights into the tumultuous history and sufferings of Vietnam.


Shifting between hypnotically slow, graceful movements and urgent, almost visceral reactions, the choreography creates a spare, powerful and bittersweet account of the human legacy of war with performers who lived through it.
Good enough description, but does not convey the intensity of emotion watching this group of women move towards the audience and back again while holding photographs of relatives(?) presumably killed in the war. I'm rarely intimidated by older women, but this shook me. Sadly, I have no way to describe this extraordinary show.

A quick look through the reviews, and they are very mixed. Some people got it while other reviewers were underwhelmed. I think that is fair. I can imagine if I was in a quite different mood, it would have left me untouched.

A fitting end to my fringing leaving me with much to think about.

Fringegestion

It's easy to overdo it at this time of year and trot frantically from venue to venue trying to fit it all in. This greed can produce what I call "Fringegestion", a condition resulting in an overstuffed brain no longer able to discern entertainment from dross.

Some fringers have great tolerance and can take in as many shows as possible in one day, while others need more time between events so as to digest what they've seen. Four shows in one day is my maximum, with one or two exhibitions in between. Over that limit and my cultural lobes crash. Normally takes a day or two for the desire to gamble time and energy on more fringely opportunities to revive. But sooner or later, I gambol off to well trodden venues or in search of new (and more comfortable) theatre spaces.

Gazing vacantly at enthusiastic young acts in the High Street helps regain a sense of perspective in the short term.
Anyone familiar with the concept of the fringe will be aware, or at least guess that it is used to set up fringes to some of the other festivals in Edinburgh. So, the Book Festival has a fringe. The one event I managed was Helen Zaltzman and Olly Mann reading from their book Answer Me This? A very popular event and sort of entertaining in it's way.

Then it was time for Jackie Kay at the Book Festival. This was one of the funniest events I've been to this month, if not this year.

Next up, Bumfluff and Brimstone. This is where the fringegestion kicks in, after the glorious wit of Jackie Kay to a woman in her first Fringe show having decided at 40 that she wanted to do stand up.  She tried, and some material was quite good, but, my perception of her was coloured by the previous event.

Following a short gap and time for a bit of a walk I finished the day with the reliably funny Kate Smurthwaite. After my last year's rant about her not getting enough TV, she is now making a welcome habit of appearing on comment pieces and discussion programmes and speaking up for rational feminism.

Next day brought a change of focus with the Festival of Politics at Holyrood. As with the Book Fringe, I could only fit in one event. Is the far north safe in Nordic hands? Chaired expertly by Lesley Riddoch with presentations from a Norwegian oil and gas exploration representative, and a woman from Murmansk asserting the ecological viewpoint, this did not disappoint.  I knew little of the arguments surrounding this discussion, so I was on a steep learning curve.  Pressure to find new oil, gas and fish stocks will mean that the nations surrounding the Arctic are looking at ways to exploit the resources, developing new technologies to do so and generally panicking those who don't trust nations or companies not to wreck the fragile environment in that area.

That had been all I'd planned to do as I'd had lots the day before and anticipated a heavy fringeathon the next day. But, little goes to plan and as I walked up the road, I was invited into a free Burn's show, free three course, Vegetarian Burn's Supper and free ten year old Tallisker whisky.
I'm not going to refuse that.  I'd not been in Monteith's restaurant before, but I'll be going again judging by the standard of the food. The vegetable terrine starter was sublime, the veggie haggis was ok and the raspberry Cranachan was scrummy. The show was really good fun, especially as this was the final one and they were more than a little demob happy.

Two good days on the fringe, demonstrating that if you wander about the city opportunities sometimes land in your lap.

More, but not of the same

Orlando
Of the few shows I planned to see during the Fringe, Virginia Woolf's witty biography Orlando was low on the list. Until I noticed it was promoted in Jenner's department store window and that it had been awarded five stars. I don't often go on reviewers recommendations, but this time I did and it paid off handsomely.

Orlando was played by Glasgow based Judith Williams in bright crisp tones, easy to engage with throughout the performance. The sparse set design brought to life with lighting, projections and original sound track were all admirable and enjoyable. The costume design was almost the best aspect with an inventive changeover from male to female attire achieved with convincing effect. Conveying the main adventures in Orlando's long life in an hour was managed without diluting the impact of the charm and romance of the book.

Any performance in Edinburgh is up against the vast competition across the city and even five stars did not guarantee capacity audiences for this one, but at least on the day I went it was fairly full and very well received.

1001 Nights
Swept up in enthusiasm I agreed to accompany Sig Other to six hours of Alf Layla wa-Layla at the Lyceum. The Festival programme says of this production:
Erotic, brutal, witty and poetic. One Thousand and One Nights are the never-ending stories told by the young Shahrazad under sentence of death to King Shahrayar ... is told in two compelling parts each of which can be seen and enjoyed on its own; or see both in the same day and fully immerse yourself in these remarkable tales for a truly intoxicating Festival experience.
It was indeed an experience and one that's left conflicting thoughts. The first half was more brutal while the second was more witty; the poetry ran throughout this Arabic, French and English performance.

This is a wonderfully international production with cast, musicians and creative team from many Arabic and some European countries. It was written by Hanan Al-Shaykh who adapted the tales and emphasised their feminist message about misogynist men being made aware of their cruelty to women.

Certainly the first half amply demonstrated this cruelty, but the second half brought realisation and understanding to the Caliph and the other men in the tales. They resolved to change. 

Much was made of the tale of the five sisters who lived together, and their choice to continue so after marriage went wrong for all of them. Frequently, they were referred to as 'living alone' as if five people in a household were alone if there was not a man amongst them. This is similar to the old feminist saw of two women in a bar being approached by smoothy male with the opener "What are you ladies doing on your own?"  Apparently women in whatever quantity are alone if there is no male there.

Part of my conflicting thoughts are that I'd only narrowly agreed to see both parts and I wonder what I'd have been left with had I only seen part one. Overall, it was the correct decision to spend the day in this way, but I'm not sure I'll be persuaded by the enticement of a theatrical 'experience' again.

I was rather relieved that the comfort of the seats in the Lyceum meant I was not cramped and stiff by the end.

Brief reviews

At the half way mark in the festival I begin to long for a normal life again and just start to run out of steam. This is especially true when certain conditions are prevalent, like the depressing rain or if too many shows/exhibitions/events are bad. Fortunately, or simply through experience I've been to few disappointing shows this year, and have avoided the gloomy venues which bring my enthusiasm to a halt.  I'm just getting tired of hopping on and off buses, braving the crowds and running around between the other parts of my life. They need some attention after all, and when coming home to neglected housework and a foodless fridge is due to fringing, it's time to calm down a bit. So I went to very few shows at this fringely midpoint.

I've not had time or inclination to update the blog on what I have seen and this is reflected in what is a miserly piece on three really good shows that should have more said about them.

Mary Mary Quite Contrary stand up from Mary Bourke, at the free fringe.
Please just take it as read that I have raved on about her. I will spare the repeat from last year where I labour the point that there are some very good women doing stand up in Edinburgh, but the big venues fail to promote them. And I despair of seeing the likes of Mary Bourke on my TV on a Saturday night anytime soon. Rather, it will be the usual continuation of shouty, marchy up and downy blokes all winter when we should be seeing comedy that appeals to a much more intelligent demographic, like feminists!!

Didn't quite avoid repetition of my point about more funny women who do not offend easily offended feminists.


Bosom Buddies with Jack Klaff
A complete change of mood from the above, but enthralling theatre. Thankfully, the audience is given a handout of the characters played in this one hander as there were one or two historical people I'd never heard of.  I came home to google Ottoline Morrell, Margarete Buber-Nueman and Sabina Spielrein. I'd heard of all the male characters, as history is meticulous about recording them and making us search for the women portrayed by Jack Klaff.

I'd need to see it at least twice more before I could really convey how this piece of conversations between the characters, spanning major events in the 20th Century ebbed and flowed around and about the Cuban Missile Crisis, psychoanalysis, relativity, African, Indian, Russian history and probably more that eluded me.

Next time this is performed I'll get another ticket.

Booking Dance Festival: Split Bill
This American company brings dance troupes to the Fringe to showcase excerpts from their shows and assists those in the industry to book the acts. They also have tickets for the public.

I'm afraid I have to rave again, this time about three utterly distinct dance performances in one afternoon, starting with Rhythmic Circus. Described as 'Live Music and Rapid Fire Hard Hitting Tap' this was energy squared backed up by a very good seven piece live band. The ultimate in pretty people entertained a moderate sized crowd in Edinburgh's International Conference Centre. I just clapped my little hands off while they tap danced through hip-hop, funk, blues, and soul music.

Next Damagedance performed their world premier of Glimpses. This powerful performance explored psychological disorders, demonstrating that everyone suffers from something to some extent. We try to hide it.

I was initially cautious about this, but after a few minutes I was completely won over by this amazing group of young dancers.

Finally, Labyrinth Dance Theatre performed Noor.  I liked this, and the complete change of pace contrasted with the previous two dances. However, it did not move me as much as I expected for a story of the tragic heroism of Noor-un-nisa Inayat Khan. But I was very happy to be reminded of one of the women who played an important part in WW2 and who was awarded the George Cross.