Today, October 7, 1879, Joe Hill was born, a Swedish immigrant, songwriter and organiser with the Industrial Workers of the World. Born as Joel Emmanuel Hagglund in Gevalia, Sweden, he emigrated to the United States in 1902, where he changed his name to Joseph Hillstrom. I make no apologies in writing about him again here, after all this was a man who became a myth. A myth on which many people across the globe continue to pin their hopes and dreams. Moving across America in search of work, leading an itinerant life, he ended up in New York, and together with people from the same background, people yearning for a new way of life, inspired by its revolutionary spirit he was to become a Wobbly and became a member of the revolutionary rank-and-file union the IWW ( The Industrial Workers of the World.) Members of the IWW, were especially active in the western United States, where they enjoyed considerable success in organising mistreated and exploited workers in the mining, logging and shipping industries.
Throughout his day Joe Hill was actively involved in many of the labor battles of the day, fighting in Mexico, with partisans against the dictator Ricardo Flores Magon and used his voice as a songwriter and cartoonist for the IWW, many of whose songs still sung today, including 'There is Power in the Union,' his memory still enduring and being kept alive. His songs and tunes urged workers to quit thinking of themselves as a dispirited crowd of immigrants, but through solidarity and organisation. People of all nationalities and differing languages would come together and sing Joe Hill's tunes together. Even if jailed for their protests, the workers would carry on singing his words until their release.The IWW included some of Hill's songs in the "Little Red Song Book." which the union began publishing in 1909.
In 1914 Joe Hill was accused of the murder of a Salt Lake Grocer and former policeman. He was suspected because he had suffered a gunshot wound on the same night. At his trial though not one witness was able to identify him as one of the murderers but he was convicted and sentenced to death anyway, The IWW argued that he had been framed and recent evidence unearthed, seems to back up this view, that he had been engaged in conflict somewhere else, while engaged in a fight over his love. Following an unsuccessful appeal and an international campaign calling for clemency, Joe Hill was executed by firing squad on November 19th, 1915, an innocent man condemned to death for his passion. Many historians have come to recognise it as one of the worst travesties of Justice in American history, after a trial that was riddled with biased rulings and suppression of important defence evidence and other violations of judicial procedure, which was characteristic of many cases involving labour radicals. Just prior to his execution, he had written to Bill Haywood the IWW leader, saying 'Goodbye Bill, I die like a true blue rebel. Don't waste any time in mourning. 'Organize!" This is still used as a motto by the IWW to this day (Don't mourn organise) .His last actual words were 'Fire!.' Joe then became a martyr to the cause of the working class struggle for social justice, and
he became a larger-than-life symbol of the movement in America.
A guard reported that at about 10 pm Joe Hill handed him a poem, through the bars of his cell. It was his last will, which has since become a prized piece of poetry in the American Labour Movement.
Joe Hill's Last Will
My will is easy to decide
For there is nothing to divide
My kin don't need to fuss and moan
Moss does not cling to a rolling stone.
My body - Oh - If I could choose
I would to ashes it reduce
And let the merry breezes blow
My dust to where some flowers grow
Perhaps some fading flower then
Would come to life and bloom again
This is my last and Final Will
Good luck to all of you,
-
Joe Hill's Last Will - Utah Phillips
An estimated 30,000 people attended Hill's funeral i an impressive singing demonstration under the banner ' In Memorium -Joe Hill, Murdered by the Capitalist Class. The instructions left in Hill's last poem were carried out: Hill's ashes
were put into small envelopes and on May Day, 1916, were scattered to
the winds in every state of the union. This ceremony also took place in
several other countries.
Alfred Hayes wrote a poem about Hill that was later adapted by Earl Robinson and became the famous folk song, I Dreamed I Saw Joe Hill last Night, and he has since been immortalised in poetry and song,from Pete Seeger, Phil Ochs, Paul Robeson to many others. In 1971 Bo Widerberg wrote and directed the popular Swedish film, Joe Hill. Today his name still used as a rallying cry, as we remember this rebel folk hero, many believe his spirit now lives on through the works and deeds of the IWW,, this man and his myth still continuing to inspire, in movements that reflect his call for social justice.Without memory of the past , there can be no hope for the future.
William Morris was born in 1834 on the 24th of March 1834 in Walthamstow, Essex, the third of nine children. William's father, after whom he was named, was a self-made business man, who was able to provide an upper-middle-class lifestyle for his family because of a shrewd investment in a Devonshire mine.
Although William Morris Senior died when his son was just thirteen, the wealth he had accumulated provided a generous income for the artist well into his adult life.
In 1853, Morris began his studies in Theology at Exeter College, Oxford,
planning to become a priest in line with his mother's wishes. However,
within less than a year, his outlook on life had changed drastically:
his reading in the library shifted from religious matters to history and
ecclesiastical architecture, and eventually to the art criticism of
John Ruskin. Soon, he discovered his lifelong passion for writing
poetry, and his fate as a creative was sealed when he met fellow student
Edward Burne-Jones, a budding artist and designer with whom he would remain friends for the rest of his life.
Morris is known today for his exquisite patterned wallpapers,
his famous chair design, and his rule, “Have nothing in your house that
you do not know to be useful or believe to be beautiful.”
but far more than this he was a man of tremendous energies, his accomplishments
astonishing in their range and depth. He became successively a poet ,
embroiderer, textile designer, artist, writer and
revolutionary socialist and political agitator associated with the
Pre-Raphaelite Brotherhood and the English Arts and Crafts movement. Morris was swept up in a wave of artistic creativity, in the company of
artists whose work focused on nature, and the romantic chivalry of the
medieval past.
Like his undergraduate hero John Ruskin, Morris's political views were
inseparable from his aesthetics. He believed that art should be produced
and enjoyed by all; that the products of artistic labor should be
offered back to the working classes.His
aim was not only to create beautiful things but also a beautiful
society.
In 1883, he joined the Social Democratic Federation, the first official
socialist party established in England. Like many in the movement,
Morris struggled to define his vision amid the many competing views on
the ideal organization of society.
He
became an important figure in the emergence of socialism in Britain, active in promoting its cause
through his writing and lecturing on street corners. Throughout his
life he continued to identify with the revolutionary left. He was
heartened by the Labour movements break with liberalism, but he
warned, perhaps more clearly than anyone else at the time of the
dangers of reformism.
He advocated radical revolution and change through government reform at different times in his life.
With Eleanor Marx, the daughter of Karl Marx, and other prominent
party members, Morris formed the breakaway Socialist League in 1884.Unfortunately it lasted only six years due to lack of organising ability. The League's paper the Commonweal and Morris's writing was a legacy, due to his poems of beauty which
were appreciated by so many whether they knew of the socialist league or
not.
The brutal governmental response to the Trafalgar Square riots which
occurred on Bloody Sunday in November 1887, however, shocked and saddened Morris
(hundreds of workers were wounded and three were killed) and he became
convinced that the forces of repression were so entrenched in Victorian
society that the longed-for Revolution would not come to pass during his
lifetime.
Morris wrote 'A Death Song' for the funeral on 18 December 1887
of Alfred Linnell, a week after 'Bloody Sunday',Mr Linnell's fatality occurred
after a vicious clubbing where 'the crowd was batoned by the police.'
A Death Song - William Morris
What cometh here from west to east awending?
And who are these, the marchers stern and slow?
We bear the message that the rich are sending
Aback to those who bade them wake and know.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
We asked them for a life of toilsome earning,
They bade us bide their leisure for our bread;
We craved to speak to tell our woeful learning:
We come back speechless, bearing back our dead.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
They will not learn; they have no ears to hearken.
They turn their faces from the eyes of fate;
Their gay-lit halls shut out the skies that darken.
But, lo! this dead man knocking at the gate.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
Here lies the sign that we shall break our prison;
Amidst the storm he won a prisoner's rest;
But in the cloudy dawn the sun arisen
Brings us our day of work to win the best.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
Right up to his death on October 3, 1896 he was though still agitating
and arguing for a socialist movement that would change the world . He also embraced radical ideas of sexual freedom and
libertarianism. There is a strong libertarian temper in his writings and
being a close friend of Peter Kropotkin ( eminent anarchist at the
time) was well aware of the anarchist case against government and
political authority.
His texts such as Useful Work Versus Useless Toil bristle with truths still
relevant today. Arguing that only a classless society could eliminate
the exploitation and waste of human creativity and of the world’s
resources, he exclaimed: “No-one would make plush breeches when there
are no flunkeys to wear them!”
In 1885 he bought out his Chants for Socialism and in his novel News from Nowhere (1890)
he recorded his own idiosyncratic vision after the abolition of
classes. In it he envisages a society of equality and freedom and, confirmed Morris's belief in the
potential of human beings to transform society, and in the process
transform themselves. It is the account of a dream in which a socialist
future appears in the present. It is a future without oppression,
violence and drudgery. Human beings are free to enjoy their own
creativity, and to 'delight in the life of the world'. But such freedom
had to be fought for:
'"Tell me one thing if you can," said I. "Did the change come
peacefully?' "Peacefully?" said he, "What peace was there amongst those
poor confused wretches of the nineteenth century? It was war from
beginning to end: bitter war, till hope and pleasure put an end to
it..."'
Such a
vision - a rational grounded utopia , apparently so distant to us - is
precisely what is needed for us today.
An interesting passionate and varied life, he hated the age he
lived, its commerce, its poverty, its industry, but most of all he hated
its individualistic, selfish system of values. At the end of his life
he explained:.
"The study of history and the love and practice of art forced me
into a hatred of the civilisation which, if things were to stop as they
are would turn history into inconsequent nonsense, and make art a
collection of the curiosities of the past."
When Morris lay dying in 1896 one of his doctors diagnosed his fatal
illness as ‘simply being William Morris, and having done more work than
most ten men.' and that Morris had “died the victim of his enthusiasm for spreading the principles of socialism”.
Morris was not a politician, but an activist and agitator who brought
intellectual weight and energy to the socialist cause. According to
fellow party member Bruce Glasier, socialism was "integral to his
genius; it was born and bred in his flesh and bone." He gave much to British socialism, he wrote to awaken men's imagination,
to give them visions of working for a realisation of a dream, in fact
he gave them comradeship. Morris's tremendous political speeches and writings were central to the revival of the British socialist movement at the end of the 19th century. Their relevance today is striking, writing in the 1890's he warned against faith in partial reforms that depended on ' parliamentary agitation' Such reforms would he believed
' be sucked into the tremendous stream of commercial production, and vanish into it, after having played its part as a red herring to spoil the scent of revolution.' If they wanted real change, Morris argued, 'people must take over for the good of the community all the means of production' ie credit, railways, mines, factories shipping, land machinery.'
His artistic and poetic skill, along with the radical new ethos on art
and society that he espoused, sent shockwaves through the worlds of art,
architecture, design, poetry, and political thought. Morris looked forward to a genuine rebirth of art as ‘the
spontaneous expression of the pleasure of life innate in the whole
people’ The arts and crafts movement spread across Europe and the US. Bauhaus,
de Stijl and Soviet Constructivist artists were indebted to his
aesthetics, if not to the style of his designs, and their placing of the
unity of the arts at the heart of design education continues to this
day.The William Morris Gallery is currently putting on the first ever
exhibition to explore Victorian William Morris and the modernist
Bauhaus movement. Although working half a century before the Bauhaus
opened its doors in 1919, Morris's ideas about art, craft and community
had a profound influence on the seminal German designer school. Designers and artists are still inspired by Morris’s works while his questions
about the social role of art and creativity were so fundamental that
they remain relevant, and many contemporary
artists still look back to Morris as an inspirational figure. Jeremy
Deller and David Mabb, for example, have both commented on how Morris's
work contrasts with and compliments the production methods and political
ethos of much twentieth-century art..William Morris’s ideas were still very much alive in the years that
followed the First World War as artists and craftspeople struggled to
find themselves a viable place within the modern world. Morris’s
original ‘campaign against the age’ seemed essential at a period of
increasing political cynicism and materialist frivolity and waste.
And his ideals of art for the people were a central to the planning of the Festival of Britain of 1951 who took inspiration from Morris's socialist beliefs, and from his sense of
the role of the community in artistic production, introducing these
principles to a new generation of creatives. The early-twentieth-century heyday of the artistic
avant-garde was also in a very real sense preceded by the utopian
collectivism of Morris's ventures.
In a powerful expression of continuity between reform campaigns and people throughout history, Morris appropriated the French slogan ' Liberty, Equality, Fraternity' as the head design for the Democratic Federation membership card, harking back to language and imagery used by the French revolutionaries at the end of the eighteenth century.The global relevance of his life and work is still felt today, with the reiterated calls for ' Liberty, Equality, Fraternity' revealing the enduring power of words, and the humanitarian values echoed by Morris.
Today Morris's ideas are woven into our lives , sung upon our souls, and etched into our minds, he remains
a hero to socialists, communists and even anarchists who continue to strive for a new
society.Morris's efforts to conserve the natural environment and to protect our architectural heritage are being carried on by people who are members of the same groups
he helped to found and supported..He saw the true source of oppression as capitalism which had to be
abolished before all the resources could be used with creative freedom
:
. I do not [believe] we should aim at abolishing all machinery; I
would do some things with machinery which are now done by hand, and
other things by hand which are now done by machinery; in short, we would
be the masters of our machines and not their slaves, as we are now. It
is not this or that...machine which we want to get rid of, but the great
intangible machine of commercial tyranny which oppresses the lives of
all of us'
Morris's contention that art and creativity are essential contributors to well-being and that beautiful surroundings are essential for a
healthy, happy and productive life, still powerfully resonates today. We read Morris's writings today
because we still hold out hope for a better world. After all Morris's vision for a just
society where art plays a central role has not yet been seriously tried. And although
we have not yet achieved Morris's post-capitalist, ecologically healthy and economically sustainable humane society with its lively arts, his battles of over one hundred
years ago have become our battles today.His words still have powerful resonance in our own turbulent times.
"The study of history and the love and practice of art forced me
into a hatred of the civilisation which, if things were to stop as they
are would turn history into inconsequent nonsense, and make art a
collection of the curiosities of the past." - William Morris
All for the Cause - William Morris (from Chants for Socialists)
Hear a word, a word in season, for the day is drawing nigh,
When the Cause shall call upon us, some to live, and some to die!
He that dies shall not die lonely, many an one hath gone before;
He that lives shall bear no burden heavier that the life they bore.
Nothing ancient is their story, e’en but yesterday they bled,
Youngest they of earth’s beloved, last of all the valiant dead.
E’en the tidings we are telling was the tale they had to tell,
E’en the hope that our hearts cherish, was the hope for which they fell.
In the grave where tyrants thrust them, lies their labour and their pain,
But undying from their sorrow springeth up the hope again.
Mourn not therefore, nor lament it, that the world outlives their life;
Voice and vision yet they give us, making strong our hands for strife.
Some had name, and fame, and honour, learn’d they were, and wise and strong
Some were nameless, poor, unlettered, weak in all but grief and wrong.
Named and nameless all live in us; one and all they lead us yet
Every pain to count for nothing, every sorrow to forget.
Hearken how they cry, “O happy, happy ye that ye were born
In the sad slow night’s departing, in the rising of the morn.
“Fair the crown the Cause hath for you, well to die or well to live
Through the battle, through the tangle, peace to gain or peace to give.”
Ah, it may be! Oft meseemeth, in the days that yet shall be,
When no slave of gold abideth ’twixt the breadth of sea to sea,
Oft, when men and maids are merry, ere the sunlight leaves the earth,
And they bless the day beloved, all too short for all their mirth,
Some shall pause awhile and ponder on the bitter days of old,
Ere the toil of strife and battle overthrew the curse of gold;
Then ’twixt lips of loved and lover solemn thoughts of us shall rise;
We who once were fools and dreamers, then shall be the brave and wise.
There amidst the world new-builded shall our earthly deeds abide,
Though our names be all forgotten, and the tale of how we died.
Life or death then, who shall heed it, what we gain or what we lose?
Fair flies life amid the struggle, and the Cause for each shall choose.
Hear a word, a word in season , for the day is drawing nigh,
When the Cause shall call upon us, some to live, and some to die!
No Master
Saith man to man, We've heard and known
That we no master need
To live upon this earth, our own,
In fair and mainly deed,
The grief of slaves long passed away
For us hath forged the chain,
Till now each worker's patient day
Builds up the House of Pain.
And we, shall we too, crouch and quall.
Ashamed, afraid of strife,
And lest our lives untimely fail
Embrace the Death in Life?
Nay, cry aloud, and have no fear,
We few against the world;
Awake, arise! the hope we bear
Against the curse is hurled.
It grows and grows - are we the same,
The feeble hand, the few?
Or, what are these with eyes aflame,
and hands to deal and do?
This is the lost that bears the word,
NO MASTER HIGH OR LOW-
A lightning flame, a shearing sword,
A storm to overthrow.
"If others can see it as I have seen it, then it may be called a vision rather than a dream" - From, News from Nowhere, William Morris.
The following Socialist 10 Commandments inspired by William Morris remind us that the movement embraced a
vision that was admirable, humane, and enlightened. Who could possibly
object to such a vision?
Ten Commandments from the William Morris Hall Socialist Sunday School, Walthamstow , North London
Socialist Sunday School
Ten Commandments
1. Love your schoolfellows, they will become your fellow workers and companions in life.
2. Love learning which is the food of the mind Be as graceful to your teachers as to your parents.
3. Make every day holy by good and useful deeds and kindly actions.
4. Honour good people; be courteous and respect all; bow down to none.
5. Do not hate or offend anyone. Do not seek revenge; defend your rights and resist tyranny.
6. Be not cowardly; protect the feeble and love justice.
7. Remember that all the products of the earth are the result of labour; whoever enjoys them without working for them is stealing the bread of the worker.
8. Observe and think, in order to discover the truth. Do not believe that which is contrary to reason and do not deceive yourself or others.
9. Do not think that he who loves his own country must hate and despise other nations, or wish for war which is a remnant of barbarism.
10. Help to bring about the day when all nations shall live fraternally together in peace and prosperity.
Declaration :
We desire to be just and loving to all our fellow men and women, to work together as brothers and sisters to be kind to every living creature; and so help to form a New Society, with Justice as its foundation and Love its law.
This plaque showing the Socialist 10 Commandments is from the William Morris Hall in Walthamstow, which was opened on 13 December 1909 by artist and socialist Walter Crane. The town was a hive of working class agitation, organising and self-help and workers had clubbed together to build the hall which they named in honour of the Arts and Crafts Movement leader and socialist dynamo who was born in the town.
National Poetry Day takes place on the first Thursday of October each year, which this year will land on Thursday 1 October 2020. This years theme is Vision, and the strapline for the day is ' See It Like a Poet'
See It Like a Poet
Expand your mind's eye
As darkness falls, play with shapes
Cultivate humility, do not envy
Look beyond hatefulness and greed
Keep writing what you feel is right
While shadows give way and life flows
With windows open, seek peace and tranquility
To ease distress, the black depression we often sink
Caused by the world's cruelties, the pains of life
International Translation Day is observed on September 30, every year on
the feast of St. Jerome, the Bible translator who is an epitome and
known as the patron saint of the translators. The day aims to celebrate
the work of language translation professionals which facilitates
dialogue, understanding, and cooperation, contributing to the
development and strengthening of world peace and security, and raise the awareness of the importance of their work and
express solidarity with the fellow translators worldwide.
Translators play a significant role in diplomatic engagements that not
only prevent border disputes and foster peace but also help in the
growth of the economy through globalization. St. Jerome was a priest
from North-eastern Italy, who is known mostly for his endeavor of
translating most of the Bible into Latin from the Greek manuscripts of
the New Testament. He also translated parts of the Hebrew Gospel into
Greek.
The International Federation of Translators (FIT) organise the day ever
since it was set up in 1953. The first official celebration of ITD was
held in 1991. In May of 2017, the United Nations General Assembly passed
a resolution and adopted 71/288 on the role of language professionals
in connecting nations and fostering peace, understanding, and
development, and declared 30 September as International Translation Day.
The theme of International Translation Day 2020 is “Finding the words
for a world in crisis”. – the
title seems well-chosen and doesn't need comment. Translators, terminologists, and interpreters
provide crucial services both on the front line and behind the news in
crisis situations, so the celebration of the day aims to contribute and
provide the general public with information about the work.
The idea behind this theme was to bring focus on the use of indigenous
languages whose existence is in danger to the extent of extinction. The
day was primarily focussed on the role and important work of
translators, interpreters, and others who are in the service of the
language industry.
The modern, digitalized and technologized world is marked by the
swift and dramatic changes of the ways we communicate. The exchange of
information has never been faster, the world has never been smaller, but
the need for professional human translators has never ceased.
On the contrary, the role of translators in the globalized world is
essential. While the communication is flowing in a heartbeat, it is the
task and the duty of translators to make sure it is flowing in the right
direction and that the precise meaning, intent and style of the message
remain intact.
The way the things work has changed and it is going to change even
more, but the essence of the translation profession remains the same –
to facilitate the exchange of ideas between different languages and
cultures in various ways and on different levels. This is exactly what
we do at all times, regardless of what it is that we translate – a poem,
a novel, a movie, an instruction manual or a website.
Translation is a essential literary endeavour, a means of access into the language, thinking and stories of other cultures, histories and experience.
This evening on International
Translation Day, a digital event will be held to celebrate the success
of the winners of the Translation Challenge 2020 competitions, Grug Muse
and Eleoma Bodammer.
This year's challenge was to translate a sequence of short poems by the poet Zafer Şenocak in German entitled 'Nahaufnahmen’.
A prize of £200 each is presented to the two winners and the winning
translations will be published on the websites of O’r Pedwar Gwynt and
Poetry Wales. The Her Gyfieithu Staff for the best translation into
Welsh is also presented to Grug sponsored by Cymdeithas Cyfieithwyr
Cymru.
The competition was organised by Wales Literature Exchange, Wales PEN
Cymru and Literature Across Frontiers at the University of Wales Trinity
Saint David in collaboration with Swansea University, the Association
of Welsh Translators, O’r Pedwar Gwynt, Poetry Wales and
Goethe-Institut.
11 entries received in Her Gyfieithu, and the
Welsh competition's adjudicator Mererid Hopwood, Professor of Languages
and Welsh Curriculum at the University of Wales Trinity Saint David,
says that Grug's work was the "translation that caught my imagination
more than one of the others and best succeeded in creating the feeling
of a 'poem'."
Professor Elin Haf Gruffydd Jones of the Wales Literature Exchange
said: “We are delighted that we have been able to hold the Translation
Challenge again this year despite the concerns and challenges of the
pandemic. The competition is going from strength to strength and this is
the twelfth / 12th year that we have held it in collaboration with a
number of partners. It is a very important time for us in Wales to
celebrate the links between ourselves and other countries, languages and
cultures. WLE’s motto is Translating Wales, Reading the World, and this
is a very suitable event for International Translation Day.”
During the event we also hear from Eluned Morgan MP, Minister for
International Relations and the Welsh Language; Menna Elfyn, President
of PEN Cymru and Professor Emerita of Creative Writing University of
Wales Trinity Saint David; Gosia Cabaj of Goethe-Institut along with
representatives from our other partners. The event is sponsored by the
Presiding Officer, Elin Jones MS.
The event will be held at 7pm
this Wednesday evening and you can register to be part of the evening
by clicking on the link below:
“In
the profession of translation, there is no such thing as an ideal,
perfect, or correct form of translation. A translator always strives to
extend his knowledge and to improve the means of expression; he always
pursues the facts and words”
“Without translation been in existence, we would be probably living in provinces bordering on silence”
"If
we are talking to a man in a language he understands, that will go to
his head. But If we talk to him in his own language, that will go to his
heart”
“As per UNESCO, about 40 percent of the 6700 languages spoken around the world are in danger of disappearing."
"Writers make national literature, while translators make universal literature "Jose Saramago
"Translating
from one language to another is the most delicate of intellectual
exercises; compared to translation, all other puzzles, from the bridge
to crosswords, seem trivial and vulgar. To take a piece of Greek and put
it in English without spilling a drop; what a nice skill! " Cyril
Connolly"
"The translator is a privileged writer who has the opportunity to rewrite masterpieces in their own language." Javier María
James Berry was born in Boston, Jamaica on 28 September, 1924 . One of six children. his parents were subsistence farmers,
and he enjoyed an early life of rural rhythms and experiences. By the age
of ten, however, the young writer began to feel frustrated by what his
village could offer. “I began to be truly bewildered by my everyday
Jamaican life,” he remarked in a Horn Book piece quoted in Authors and
Artists for Young Adults. “I felt something of an alien and an outsider
and truly imprisoned.”
Indeed, rural Jamaica provided Berry with few opportunities.
Though
eager to learn about the wider world, the boy had access to few books.
He had to share his single school text with all the other members of his
family. But, through Bible stories and traditional folk tales, the
young writer began to nurture what he described in the Horn Book as an
“inner seeing,” who had “an inner life that could
not be shared.ranged from the lyrical to the caustic, but almost all of them intimately caught the speech patterns of his native Jamaica.
Berry helped to enrich and diversify the capacities of the English
language, making conversational modes of West Indian expression, which a
previous generation would have considered exotic or barely literate,
normal and easily understood. In doing so he gave literary
respectability to forms of language increasingly heard in the streets
and playgrounds of multicultural Britain”
When he was 17, during World War II, Berry went to work in the United
States. But he resented the treatment of blacks there, and returned to
Jamaica after four years. After opportunities in the West Indies had not improved, in 1948 , as past of the Windrush generation
Berry decided to try his luck in London. Working and attending school at
night, Berry obtained training as a telegrapher, and worked in that
field for more than two decades. At the same time, he began to write
short stories and stage plays. and became involved over the years with many social and cultural organisations in North London, including being sessions organiser for the Carribean Artists Movement.
He became a much loved poet , helping to enrich and diversify the capacities of the English
language, making conversational modes of West Indian expression, which a
previous generation would have considered exotic or barely literate,
normal and easily understood. In doing so he gave literary
respectability to forms of language increasingly heard in the streets
and playgrounds of multicultural Britain. In 1976 he compiled the anthology Bluefoot Traveller and in 1979 his
first poetry collection, Fractured Circles, was published. In 1981, he then won the Poetry Society’s National Poetry Competition, the first poet of
West Indian origin to do so. He also edited the landmark anthology News for
Babylon (1984), which was considered “a ground-breaking publication because its
publishing house Chatto & Windus was ‘mainstream’ and distinguished
for its international poetry list”.
A pioneering writer and activist, his powerful poem ' Outsider’ was influenced by
his own experiences of racism and urgently seeks action for equality.
Each stanza questioning ‘If you see me’ is direct criticism and evoked
pathos at the lack of education, acknowledgement, and action against the
racism embedded in the UK. Sadly so relevant to this day. Black lives matter
Outsider - James Berry
If you see me lost on busy streets
my dazzle is sun-stain of skin,
I'm not naked with dark glasses on
saying barren ground has no oasis:
It's that cracked up by extremes
I must hold self together with extreme pride.
If you see me lost in neglected woods, I'm no thief eyeing trees to plunder their stability or a moaner shouting at air: it's that voices in me rule firmer than my skills, and sometimes among men my stubborn hurts leave me like wild dogs.
If you see me lost on forbidding wastelands, watching dry flowers nod, or scraping a tunnel in mountain rocks, I don't open a trail back into time: it's that a monotony like the Sahara seals my enchantment.
If you see me lost on long footpaths, I don't set traps or map out arable acres: it's that I must exhaust twigs like limbs with water divining.
If you see me lost in my sparse room, I don't ruminate on prisoners and falsify their jokes, and go on about prisons having been perfected like a common smokescreen of mind: it's that I moved my circle from ruins and I search to remake it whole.
Born on Septermber 19. 1921 in Recife, Brazil, Paulo Freire was a philosopher, educator and
activist who developed a
radical approach to transforming how we approach education. While he
was born into a middle class family, Freire’s father died during the economic depression of the thirties, and
as a young child, Freire came to know the crippling and dehumanizing
effects of hunger which ad a radicalising and transformative effect upon him. Freire saw himself being forced by the
circumstances to steal food for his family, and he ultimately dropped
out of elementary school to work and help his family financially. It was
through these hardships that Freire developed his unyielding sense of
solidarity with the poor. From childhood on, Freire made a conscious
commitment to work in order to improve the conditions of marginalized
people.
He recalled in Moacir Gadotti’s book, Reading Paulo Freire,
“I didn’t understand anything because of my hunger. I wasn’t dumb. It
wasn’t lack of interest. My social condition didn’t allow me to have an
education. Experience showed me once again the relationship between
social class and knowledge” Because Freire lived among poor rural
families and laborers, he gained a deep understanding of their lives and
of the effects of socio-economics on education.
Freire became a grammar teacher while still in high school. Even then
his intuition pushed him toward a dialogic education in which he
strived to understand students’ expectations. While on the Faculty
of Law in Recife, Freire met his wife, Elza Maia Costa de Oliveira, an
elementary school teacher and an important force in his life. They
married in 1944 when Freire was 23 and eventually had five children,
three of whom became educators Gadotti asserts that it was Elza who
influenced Freire to intensely pursue his studies, and helped him to
elaborate his groundbreaking educational methods.
Between 1947 and 1962
he developed effective dialogical methodologies for educating adult
illiterates; Freire developed his thinking during a long career teaching Portuguese
in secondary schools and literacy campaigns. Later he was appointed as
the director of the Department of Education and Culture of the Social
Service in the Brazilian state of Pernambuco.
It was here that he
started working with illiterate poor people. His results were so
impressive that he was invited to become director of the national
literacy programme. He set out to establish 20,000 cultural learning
circles throughout Brazil, for which he planned to import 35,000 slide
projectors from Poland. However he was forced to flee his native Brazil following a military coup in 1964.
Freire drew upon Catholic liberation-theology and Marxist
ideas to
forge a concept of popular literacy education for personal and social
liberation. So formidable was his work that the Harvard Educational
Review published a recapitulation of his formative essays in 1999.
Freire wrote his seminal book Pedagogy of the Oppressed
while in exile in Chile while working with
the democratically elected Allende government which fell to a
CIA-manufactured coup. He spent the next 15 years in what he called
exile, working at Harvard University and for the World Council of Churches in
Geneva, organizing and writing books for social justice and he remains a touchstone figure for social
justice and equality activists in the global North and South. after a military coup in April
1964, Freire after being imprisoned as a traitor had to flee from Brazil. He returned to Brazil in 1979, joined the Workers’ Party and
became Sao Paolo’s Secretary for Education in 1988.
Over a lifetime of work with revolutionary organizers and educators, Paulo Freire created an approach to emancipatory
education and a lens through which to understand systems of oppression
in order to transform them. He flipped mainstream pedagogy on its head
by insisting that true knowledge and expertise already exist within
people.Pedagogy of the Oppressed. which was originally published in 1968 (in Portuguese, in 1970 first
English translation) but has been reprinted and translated numerous
times and has become a source of inspiration for people throughout the world.
It is a
profound statement of faith in humanity and a challenge for us all to
consider our place, our responsibilities and our actions on the
humanisation-dehumanisation spectrum. His philosophy, compassion and
commitment inspire real (but searingly realistic) hope for the oppressed
in all societies. Freire's work
has taken on much urgency in the United States and Western Europe,
where the creation of a permanent underclass among the underprivileged
and minorities in cities and urban centers is increasingly accepted as
the norm.
Paulo Freire was highly critical of traditional formal models of
education which he argued made people dependant in much the same way as a
commercial bank does. Students are treated as if they were empty bank
accounts in which the teacher can make deposits. Under this `banking
concept` of education, "knowledge is a gift bestowed by those who
consider themselves knowledgeable upon those whom they consider to know
nothing".
This results in a dichotomy between teacher and students: the
teacher talks and the students listen. As a consequence, both are
dehumanized. Freire’s analysis of traditional education is similar to
the critique developed by Ivan Illich in his book Deschooling Society (1971).
Freire asserted that education can never be neutral. Either it is an
instrument for liberating people or it is used to dominate and
disempower them. To avoid being a tool of oppression, education needs to
involve a new relationship between teacher and students as well as with
society. The difference is not to be found in the curriculum contents
or the enthusiasm of the teacher, but in the pedagogical approach.
He
found that people were more motivated to learn how to read and write if
the experience gave them insight into the power networks to which they
are subjected. Freire urged teachers to identify and use key political
words, which he labelled as `generative themes` because they generated
discussion.
A key concept in Freire`s approach is conscientization, meaning
the ways in which individuals and communities develop a critical
understanding of their social reality through reflection and action.
This involves examining and acting on the root causes of
oppression as experienced in the here and now. This goes beyond simply
acquiring the technical skills of reading and writing. It is a
cornerstone to ending the culture of silence, in which oppression is not
mentioned and thereby maintained. Existentialism was another significant influence on Freire’s philosophy.
Freire believed that human beings are free to choose and thus
responsible for their choices.
While on one hand, Freire did very much
take into account the historical context created by the legacy of
slavery in Brazil, he never believed the historical conditions
determined the future for him, his students, or Brazilian society. On
the contrary, Freire espoused the existential belief that humans need
not be determined by the past. When Freire taught literacy classes, he
not only taught his students how to read and write. Freire shared
conscientização and, with this, the awareness that his students were
free to choose the life they created for themselves.
In what he referred to as the `archaeology of consciousness`, Freire
identified three different levels of political awareness: magical
consciousness, naïve consciousness and critical consciousness. It was
the role of the educator to foster a process of dialogue and liberation
that would enable citizens to reach critical consciousness.
Whilst the unpacking of the relationship between the oppressor and the oppressed is at the core of his work; his related concepts of dialogical (or problem-posing) and anti-dialogical (or banking education) are also crucial. His warnings regarding oppressive traits such as cultural invasion, false generosity and manipulation explain, the cultural disconnect and distrust that
typifies many student-teacher relationships.
Whereas Freire saw both humanization and dehumanization as real
choices for mankind, he saw only the former as man’s true vocation.
Thus, he saw the relationship between the oppressor and the oppressed (in all contexts) as dialectical contradictions
that must be resolved if liberation (for both) is to occur. The
“lovelessness which lies at the heart of the oppressors’ violence” can
only be defeated by acts of love from the oppressed.
However he warns that the values of the oppressor can instead become housed
in the oppressed, which may, in turn, lead them to aspire to become
oppressors themselves. In the oppressor, the oppressed see the very
model of manhood, to which they should aspire. Thus they view
themselves in purely individualistic terms, fail to see their position
as part of a group and have a “fear of freedom”. For Freire, the
resultant false consciousness meant that the “great humanistic and
historical task of the oppressed: (is) to liberate themselves and their
oppressors as well”.
One way in which the oppressor-oppressed relationship is maintained is through the use of prescription.
This is where one ‘man’s choices or opinions are forced upon another,
thus depriving him of a voice and forcing him to accept the oppressors
worldview. This can lead to self-deprecation where the
oppressed feel that they do not have opinions of value and have low
feelings of self-worth. The oppressed feel unable to act against the
oppressor but all too frequently practice horizontal violence
instead against their neighbours.. In time, the oppressed may come to
evict the negative self-concepts that they house within them.
Freire was recognized worldwide for his profound impact on
educational thought and practice. He received numerous awards including
honorary doctorates, the King Balduin Prize for International
Development, the Prize for Outstanding Christian Educators in 1985 with
Elza, and the UNESCO 1986 Prize for Education for Peace . In
1986, Freire’s wife, Elza died. He remarried to Ana Maria Araújo
Freire, who continues with her own radical educational work. On May 2, 1997, Paulo Freire died of heart failure at the age of 75.
Friers influence is still hotly debated in Brazil. Having been
posthumously made a Patron of Education in 2012, an ally of far-right
president Bolsonaro, tried (and failed) to have the title stripped from
Freire in 2018 (Lima, 2019). Pedagogy of the Oppressed was
banned in apartheid South Africa, parts of Latin America and, in 2010 in
Tucson, Arizona by right-wing policymakers who prohibited texts that
‘promote the overthrow of the US government’ (Rodriquez, 2018). ‘Pedagogy’ was one of the texts used on an ethno-studies programme
taught to Native Americans and Chicanos, and the books ‘were seized from classrooms right in front of students’, who learned first-hand about
oppression (Bernstein, 2012).
Friere's methods, which used critical dialogue and consciousness-raising
are not only applicable in his country of origin (Brazil) but are widely
used by a whole generation of social and development workers working in
deprived neighbourhoods across poor and rich countries alike, and continues to wield
enormous influence on research and educational practice across the
world as a tool for social change.
More important than all of the recognitions Freire received and the
scholars he influenced, Freire’s life was his most significant legacy.
His life’s example continues to inspire. He created the conditions by
which thousands of people, the children and grandchildren of former
slaves, could learn to read and write, learn about their agency and
freedom, and learn to love.
Here is a link to a pdf annivesary od Frier's acclaimed book :-
My heart truly bleeds Boris Johnson who has "misery etched upon his face" and is reportedly worried about money according to embarrassing reports recently.
Close
allies of the Prime Minister have described an unhappy Number 10 as Mr
Johnson attempts to deal with endless crises - claims dismissed by
Downing Street.
They also claim Johnson 56, and fiance Carrie Symonds, 32, are "worried about money" and fear they will not be able to afford a nanny.
Prior to taking the top job, his combined wages as an MP, his £275,000 per year Daily Telegraph column and lucrative speaking engagements, he was earning more than £350,000 a year.
The Prime Minister's wages amount to around £150,000 per year, far above the average UK salary but seemingly not enough to keep the pair happy.
A source told the Times newspaper "Boris like other prime ministers, is very very badly served. He doesn't have a housekeeper, he has a simple cleaner, and they're worried about being able to affoed a nanny. "He's stuck in the flat and Downing Street is not a nice place to live. It's not like the Elysee or the White House where you can get away from it all because they're so big. Even if he or Carrie want to go into the rose garden they have to go through the office."
Whether he has really been grumbling or not, it doesn't hurt to point out how ridiculous and over privileged and out of touch from society he actually is, he is just a shameless arrogant pampered egomaniac. Boris Johnson is not skint just a brazen hypocrite, who has been spoilt throughout his entire life, all he and the Tories only really care about are themselves and their rich friends and backers. I care as much for him as he does for the majority of the hard working people of this country, which is nothing.
He sold a £3.75m home in September last year which would have seen him making £700,000 in profit. He still owns one property with his ex wife and he and Carrie own a £1.3m house outight and has a net worth of £3,1m. As our country faces the possibility of another lockdown due to his incompetence, lets not forget this is a prime minister who has spent more time on holiday than any of his recent forerunners, possibly than all of them put together, if you average it out for a single year, setting of for his many jaunts at times of national crisis.
I have no sympathy or appreciation for him, after all still gets lots of benefits thrust upon him, by his friends in big business, unlike the low paid, unemployed, state pensioners, single parents, disabled, unpaid carers or asylum seekers who have to face undue hardships every day of their lives. And lots of others can't afford to pay a nanny either, and after ten years of Tory austerity can't afford to put food on the table, and as winter approaches let alone put the heating on.
What follows is a tribute to Chilean Political Singer and activist Victor Jara murdered by brutal dictator Augusto Pinochet's troops on this day 16th September 1973. This followed the military coup on 9/11/73 which overthrew the democratically elected government led by Salvador Allende.
For the next 20 years, Pinochet suspended democratic rule in Chile, presisding over an oppressive, sadistic military junta that completely reversed Allende's socialist economic programs, banning unions and privatizing state programmes such as social security, hunting down all manner of dissidents and imprisoning tens of thousands.
Víctor Jara was born to a peasant family. His mother taught him to sing,
but by age 15 he was orphaned and on his own. After a brief sojourn in
seminary and a stint in the army, he turned to a career in music and
theater. He became a director, putting on plays ranging in style from
the classical to the experimental. Eventually, his love for music drew
him away from the theater, and by 1973, was one of Chile’s big music stars. A cross
between Bob Dylan and Woody Guthrie, he was unashamedly left-wing;
writing popular protest songs about social inequality and the plight of
the working man. He was an integral part of the Nueva Canción movement (New Song) movement, a movement of Latin American musicians
who blended Spanish and indigenous folk music to create a genuine music
of the people.
With the folk boom in full swing in the United States,
markets around the world were being flooded with commercialized versions
of "protest music." Nueva Canción was a conscious alternative,
folk in the truest sense. Among people increasingly angry about their
country's rising poverty and subjugation to US interests, Nueva Canción
found home. Jara himself summed it up the best: "US imperialism
understands very well the magic of communication through music and persists
in filling our young people with all sorts of commercial tripe. . . .
The term 'protest song' is no longer valid because it is ambiguous and
has been misused. I prefer the term 'revolutionary song'."
So when the right-wing Pinochet regime seized power in a
bloody coup, they made sure Jara, 40 at the time, was one of the first to be detained. Transported
to the Chile Stadium, Jara found himself in a vision of Hell. One of 60
torture centers that sprang up around Santiago in the days following
the coup, the Chile Stadium was notorious for its cruelty. Detainees
were forced to sit in the bleachers without food or sleep, watching as
people were randomly pulled out and executed on the pitch. Occasionally,
guards would turn their machine guns on the crowd and unleash a random
spray of bullets, sending bodies tumbling down onto the playing field.
A
lifelong rebel, Jara responded to his incarceration by composing new
songs and singing them to his fellow prisoners to keep their spirits up.
Unsurprisingly, he soon came to the attention of the camp commander,
who made a seemingly magnanimous gesture: Placing a guitar on a table in
the middle of the stadium, he invited Jara to come down and play to the
crowd. Naively, Jara agreed.
What happened next would be etched
on the minds of those who saw it forever. The moment he sat at the
table, Jara was pinned in place by the nearby guards. The commander then
cut off his fingers and mutilated his hands to mush. Some witness claim
he used an axe, others the butt of his rifle. The outcome was the same.
With Jara’s hands a bloody pulp, the commander screamed at him: “Now
sing, you motherf—er, now sing!”
In response, Jara pushed himself
to his feet. With infinite calm, he reportedly walked to the nearest set
of bleachers and said, “All right, comrades, let’s do the senor
commandante the favor.” Then he began to sing.
He sung unsteadily,
with a wavering voice, the anthem of the UP—the political party whose
members lay in piles at the bottom of the bleachers. As his voice began
to steady, an incredible thing happened. Across the stadium, prisoners
who’d had no food or sleep, prisoners who’d been tortured or threatened
with death, all rose to their feet and began to sing with him. For a
fleeting moment, the guards could only watch in amazement as their charges joined in
with Victor Jara for his final song. A volley was fired and Jara fell dead. Then another was aimed into the
bleachers at those who’d accompanied him in song and bodies tumbled down
the inclines.”
Allende was last seen on the 15th of September when he was left abandoned by a roadside , only for his body to be discovered a day later. When his wife Joan went to identify his dumped body, it was riddled with 44 bullets. Over 3,000 other political prisoners would suffer a similar fate,
during Pinochet's murderous, CIA - supported tenure, Chileans suspected
of being dissidents would be similarly rounded up and "disappeared"
never to bee seen or heard from again.
Such was Victor Jara's
power though his voice will never die. It resonates through the ages, a
beacon, that we should not forget, standing strongly against oppression.
In his lifetime, the Chilean folksinger Victor Jara became the voice of Chile's dispossessed. He became a symbol for their aspirations of equality and a figure of hope to progressive movements worldwide.
He has also been remembered not only in Latin
America's folk tradition, but by artists the world over. The Clash, U2, and
even 80s popsters Simple Minds who have paid tribute to Jara in their songs.
And faced with the emnity of the world, and the unending resistance of the Chilean people, Pinochet's distatorship withered away in the late 1980's and with democracy restored to Chile, Victor Jara, could finally be properly remembered by his compatriots, which saw the stadium in which he was murdered being renamed after him and on 3rd December, 2009, Jara, at last given a full funeral in Santiago.
Chile’s junta might have silenced Jara’s voice, but not his music or legacy. He has been remembered not only in Latin
America's folk tradition, but by artists the world over who have paid tribute to Jara in their songs. Only recently James Dean Bradfield, the former leader of the band Manic Street Preachers, dedicated his new album, Even in Exile, to the life of Victor Jara. “If
you just focus on his (Victor Jara) death, you ignore the journey, you
ignore the ambition, you ignore the songs, and you kind of ignore
Chile”, said the Welsh artist in a long and informative interview with
BBC Culture. Bradfield discovered the Chilean artist through the music of The Clash and the movie The Missing, but when actually listening to Jara´s songs, he was struck by the way he delivered a political message. Here in Wales there has also been a festival (El Sueno Existe)
of music and dance every two years in memory of Jara. Whose incarceration, mutilation, and brutal murder has come to symbolize the tragic cruelty of the Pinochet regime.
His wistful, Manifesto, the last song he wrote, released posthumously, feels like an eerie premonition of his death:
The song is considered his testament, the manifesto of what it means to be a revolutionary artist.
As tyrants fall away, history remembers the heroes and the martyrs.
The military burned many of Jara’s master recordings, but Jara’s wife Joan Jara took some recordings out of the country.
American folksinger Phil Ochs,
who had met Jara in Chile, was devastated by the killing. He helped
organize a memorial fundraiser called “An Evening With Salvador Allende”
in New York in 1974. The same year, a Soviet astronomer named an
asteroid after Jara.
Others paid tribute to Victor Jara, including Pete Seeger and Arlo Guthrie who wrote and recorded a tribute to the singer-activist with the song, “Victor Jara,” from the 1976 album Amigo.
Guthrie wrote the music and Adrian Mitchell provided the lyrics with
each verse focusing on Jara’s hands that officials would break:-
Victor Jara of Chile
Lived like a shooting star
He fought for the people of Chile
With his songs and his guitar
And his hands were gentle
His hands were strong
Victor Jara was a peasant
Worked from a few years old
He set upon his father's plough
And watched the earth unfold
And his hands were gentle
His hands were strong
When the neighbours had a wedding
Or one of their children died
His mother sang all night for them
With Victor by her side
And his hands were gentle
His hands were strong
He grew to be fighter
Against the people's wrongs
He listened to their grief and joy
And turned them into songs
And his hands were gentle
His hands were strong
He sang about the copper miners
And those who work the land
He sang about the factory workers
And they knew he was their man
And his hands were gentle
His hands were strong
He campaigned for Allende
working night and day
He sang take hold of your brother's hand
The future begins today
And his hands were gentle
is hands were strong
The bloody generals seized Chile
hey arrested Victor then
They caged him in a stadium
With five thousand frightened men
And his hands were gentle
His hands were strong
Victor stood in the stadium
His voice was brave and strong
He sang for his fellow prisoners
Til the guards cut short his song
And his hands were gentle
His hands were strong
They broke the bones in both his hands
They beat his lovely head
They tore him with electric shocks
After two days of torture they shot him dead
And his hands were gentle
His hands were strong
And now the Generals rule Chile
And the British have their thanks
For they rule with Hawkers Hunters
And they rule with Chieftain tanks
And his hands were gentle
His hands were strong
Victor Jara of Chile
Loved like a shooting star
He fought for thee people of Chile
With his songs and his guitar
And his hands were gentle
His hands were strong
Reprinted from:- The Apeman Cometh - Adrian Mitchell Jonathan Cape, 1975
This ballad was later set to music by Arlo Guthrie, which you can hear here :-
What was so dangerous about Jara
was that his songs were such a integral part of a struggle of millions who were fighting
to win their basic human dignity -- the very same
people over whom Pinochet ruled with an iron fist until his deposition in 1990.
Scottish folk musician Dick Gaughan said it very frankly: those who say that "music
and politics should not be mixed . . . [should] tell that to the CIA and their
thugs who murdered Jara because his repertoire didn't suit their interests."
The great band the Clash mentioned earlier referenced Jara in their song Washington Bullets from their 1980 album Sandinista!
Along with those killed by Pinochet's military rule which finally came to an end in 1990, and the thousands murdered, 28,000 people had been tortured. The details of Jara's torture and death were finally revealed by a Truth and Reconciliation Commission created by the new government of Patricio Aylwin. But it was not until July 2018 that eight former military officers were sentenced for killing Jara, to just 15 years each.
Pinochet would be cremated
for fear of his grave becoming vandalized. With his remains, the notion of Pinochet as anything other than a ruthless tyrant were scattered to the wind, his legacy that of a brutal dictator; Jara's, though is that of a people's
troubadour. Pinochet ground thousands into poverty; Jara sought to lift them
up. Pinochet's legacy reminds us of just how vicious the force of reaction can be. Victor
Jara though is remembered as an artist, martyr and hero whose music has and will continue to inspire us to fight against
it.
Though Víctor Jara died a brutal death under a brutal regime, his songs
are not all about the horror he witnessed. They are also about the hope
and courage of people who stand up to those who use violence to sustain
injustice. He said, Song is like the water that washes the stones,
the wind which cleans us, like the fire that joins us together and lives
within us to make us better people.
Long after his death his cultural influence still resonates. Here is Jara’s last poem, Estadio Chile/ Chile Stadium which was smuggled out in the shoe of a friend.
Chile Stadium
In this small part of the city.
Five thousand.
How many of us are there in all
In the cities and in all the country?
Here we are, ten thousand hands
Who plant the seeds and keep the factories running. So much humanity,
hungry, cold, panicked, in pain,
Under moral duress, terrified out of their minds!
Six of ours lost themselves
In the space of the stars.
One man dead, one man beaten worse than I ever thought
It was possible to beat a human being.
The other four wanted to free themselves of all their fear.
One jumped into the void.
Another beat his head against the wall.
But all had the fixed look of death in their eyes.
What fear is provoked by the face of fascism!
They carry out their plans with the utmost precision, not giving a damn about anything.
For them, blood is a medal.
My God, is this the world You created?
Is this the product of your seven days of wonder and labour?
In these four walls, there is nothing but a number that does not move forward.
That gradually, will grow to want death.
But my conscience suddenly awakens me
And I see this tide without a pulse
And I see the pulse of the machines
And the soldiers showing their matronly faces, full of tenderness.
And Mexico, Cuba, and the world.
Let them cry out this ignominy!
We are ten thousand fewer hands that do not produce.
How many of us are ther throughout our homeland?
The blood of our comrade the President pulses with more strength than bombs and machine guns.
And so, too, will our fist again beat.
Song, how hard it is sing you when I have to sing in fear.
Fear like that in which I live, and from which I am dying, fear.
Of seeing myself amidst so much, and so many endless moments
In which silence and outcry are the tragets of this song.
What have never seen before, what I have felt and what I feel now
Will make the moment break out...
Christy Moore with Declan Sinnott - Victor Jara
I think I am passionate because I am full of hope.
—Víctor Jara
We fear for our lives For our children and our lovers For our country and our friends, As the wind dies slowly It's pale murmour calling, And sun drenched blossom closes weary eyes The mourning drone of flies cluster by the trees, And swooping swallows whisper in the skies The once golden apples lie fallen on the ground. The old thrush sings his solitary song And summers no longer by his side, Though its memory keeps calling Among the haunting sadness that envelopes us Shadows fusing, clouds drifting by, As Autumn makes way, words still outpour And Birds fly to warmer climes, Close the window, fasten the door As the days grow cold, sit by the fire, When the morning comes tumbling down Don't forget to keep wearing your masks.
Today, most of us are aware, that we are currently in the grips of a mental
health crisis. An epidemic. killing indiscriminately, especially the
young .One in four people in the UK will experience a mental health
problem each year. Every year organisations and communities
around the world come together to raise awareness of how we can create a
world where fewer people die by suicide. 10 September 2020 marks 17 years of World Suicide Prevention Day.
This
day observes the commitment to remove the social stigma that surrounds
discussions on suicide This year it is focusing on the theme of connection and working together to prevent suicide. For people who are feeling vulnerable or distressed, having a strong sense of connection is an important part of suicide prevention. Connection can come in many forms, we can connect with friends and family, have connections through activities, or with nature and the arts.
Being distracted from suicidal thoughts and engaging in activities to take time away from the difficulties can also help to lift the mood for those with suicidal thoughts at whatever level or intensity. For those of us not feeling distressed, being able to make connections with someone we think may be struggling, to give someone the opportunity to share with us how they are feeling, can really help.
The most challenging conversations to have are usually the ones we
need to have the most. Talking about suicide makes it more real, but
choosing silence is not the answer. Approximately eight hundred thousand individuals commit suicide globally each year.. Every life lost to suicide is a tragedy.And we know that suicide is preventable, it’s not inevitable. In 2019, suicide numbers reached a 16 year high in the UK
after experiencing a steady downward trend since 2003. With more people
both attempting and committing suicide each year, it is more urgent
than ever that we keep the conversation open and honest about suicide.
Suicide
is a human issue. When we start to look at it as such, it opens the
door for better conversations and the normalisation of treatment in
society. Suicide can affect anyone regardless of race, ethnicity,
religion, socio-economic background, gender and age. No-one is immune.
It is a hard number to swallow, but around 81 per cent of suicidal people
tell someone what they are going to do and when they are going to do
it. It is time to get honest about suicide prevention. If many who
attempt suicide give some clue or warning, then we need to look out for
the signs. Statements like "You'll be sorry when I'm gone," "I can't see
any way out,"- no matter how casually or jokingly said - may indicate
serious suicidal feelings.Too often, suicidal people are left at the mercy of
these thoughts; they seek help too late and then need to wait even
longer for an appointment.
If
you are worried someone is suicidal, it is okay to ask them directly.
Research shows that this helps - because it gives them permission to
tell you how they feel, and shows that they are not a burden.
Once
someone starts to share how they are feeling, it is important to
listen. This could mean not offering advice, not trying to identify what
they are going through with your own experiences and not trying to
solve their problems.
But not being okay is still widely stigmatised. And governments can still make better, more ambitious plans to prevent suicide.We should not forget that mental illness doesn't discriminate, touching the lives of people in
every corner of society - from the homeless and unemployed to builders
and doctors, reality stars and footballers. and within the monopoly-capitalist nations, mental-health disorders are the
leading cause of life expectancy decline behind cardiovascular disease
and cancer.
In the European Union, 27.0 percent of the adult population between the
ages of eighteen and sixty-five are said to have experienced
mental-health complications.
Recent estimates by the World Health Organization suggest that more
than three hundred million people suffer from depression worldwide. And
it is important to note that most of the medications currently
available fail to manage symptoms at all.
Suicide and suicide attempts can have lasting effects on individuals
and their social networks and communities. The causes of suicide are
many, and it is important to understand the psychological processes that
underlie suicidal thoughts, and the factors that can lead to feelings
of hopelessness or despair.
Suicide behaviours are complex, there is no single explanation of why
people die by suicide. Social, psychological, and cultural factors can
all interact to lead a person to suicidal thoughts or behaviour. For
many people, an attempt may occur after a long period of suicidal
thoughts or feelings, while in other cases, it may be more impulsive.
Despite some excellent media guidelines produced by Samaritans and
Mind, journalists often still revert to outdated language and
stereotypes when reporting suicide. There is a difficult balance between reporting known facts and
introducing elements of the story into the public domain which may
encourage others to emulate what they have read, as is described in the
Werther effect - so called because of the spate of imitational suicides
that were said to have taken place after the publication of Goethe’s
novel The Sorrows of Young Werther. Research carried out across the
world over the last five decades shows that when specific methods of
suicide are reported – details of types and amounts of pills, for
example – it can lead to vulnerable people copying them.
Young
people in particular are more influenced by what they see and hear in
the media than other age groups and are more susceptible to what is
often referred to as suicide contagion.
We should not describe a suicide as ‘easy’, ‘painless’, ‘quick’ or
‘effective’, and we should remember to look at the long-term
consequences of suicide attempts, not forgetting the significant
life-long pain for those left behind when someone does take their own
life.
It is also important to bear in mind that reports of celebrity deaths
carry greater risk of encouraging others to take their own lives, due
to the increased likelihood of over-identification by vulnerable people.
A recent study, which examined news reports covering the suicide of US
actor Robin Williams, identified a 10% increase in people taking their
own lives in the months following his death. This emphasises the
responsibility that we all have when it comes to talking about suicide.
We often read speculation about the cause of suicide, linking a death
to a previous event such as the loss of a job, the break-up of a
relationship or bullying. It is impossible to say with any certainty why
someone takes their own life. As the Samaritans state: ‘there is no simple
explanation for why someone chooses to die by suicide, and it is rarely
due to one particular factor.’Suicide is often the culmination of a complex set of factors.
Covid-19 has affected us all in different ways and brought new or
increased challenges for many. But there has also been a positive impact
of new connections, often with neighbours and within communities. I
hope that exploring connection on this World Suicide Prevention Day will
help us all think about how we can reach out and offer connection,
helping ourselves and others who may be struggling.so we would like to
share some helpful tips and information for those who might need it.
Together we can work to raise awareness of suicide prevention and how we
can create a world where fewer people die by suicide.
If
you are worried someone is suicidal, it is okay to ask them directly.
Research shows that this helps - because it gives them permission to
tell you how they feel, and shows that they are not a burden. Once
someone starts to share how they are feeling, it is important to
listen. This could mean not offering advice, not trying to identify what
they are going through with your own experiences and not trying to
solve their problems.
Let’s all make a habit of checking on
each other. Check on your strong friends today. Check on your
struggling friends. Don’t be fooled by smiles or tough exteriors. Pain
can manifest itself in many ways and have many different faces. Check
on yourself too. If you are struggling, please know that there are
resources available. And, know that there is no shame in needing help.
The world needs you to stay. The world needs us to help each other find
our way back to being okay.
Here are some useful helplines :-
Samaritans: 116 123 (free, for everyone, 24/7)
Somewhere To Turn( free, online peer support and signposting service)
CALM: 0800 585858 (free, for men, 5pm-midnight)
PAPYRUS: 0800 968 4141 (free, for young people, 9am-10pm Mon-Fri, 2pm-10pm at the weekend)
