Friday, January 12, 2018

The Dark is Rising by Susan Cooper

Cover image © Vintage Classics
In the mid-2000s I had read parts of Robert Macfarlane’s book Mountains of the Mind for a Masters Degree assignment on Percy Shelley’s ‘Mont Blanc’. I must admit, until he appeared on my Twitter feed with his ‘Words of the Day’ tweets having been retweeted by someone else, I’d almost forgotten how knowledgeable he is. 

How does this all link to a book by a completely different author? Well, Macfarlane and writer Julia Bird, decided that over the festive period they would run a Twitter-based, read-along reading group based around Susan Cooper’s The Dark is Rising.

The #DarkisReading and #ArtisRising hashtags were born.

The story, despite being written for a younger audience, is full of rich descriptions of landscapes and nature. Furthermore, Cooper seems particularly adept at recreating the otherworldliness of the snow-bound countryside:
“The strange white world lay stroked by silence. No birds sang. The garden was no longer there, in this forested land. Nor were the out-buildings nor the old crumbling walls. There lay only a narrow clearing round the house now, hummocked with unbroken snowdrifts, before the trees began, with a narrow path leading away.”
Beginning on Midwinter’s Eve, the story follows the character of Will Stanton who starts experiencing strange goings on in the run up to his birthday. Unbeknownst to him, he is an Old One – one of those selected to defend the Light against the forces of the Dark. He is sent on a quest in a parallel world in order to recover the six circular signs that when united become a Thing of Power.

Along the way he encounters characters who guide him and those who attempt to deceive him, learns the magic of the Old Ones and encounters the somewhat haunting folkloric figure of Herne the Hunter as the story reaches its climax on Twelfth Night.

Although the plot is, in many ways, quite simple, the way in which it is written is the key to what makes it captivating. If you read it as a bildungsroman, it is the tale of a boy who at once is a child in the eyes of his family, yet is ageless; someone who is still immature to his parents, yet who learns how to save the world. Perhaps it is a perfect analogy for all those times we underestimate the capabilities and talents of the children we know when we view a situation through our adult eyes.

Overall, perhaps the best thing about the whole experience of reading the novel, was the sense of community that emerged over social media. With people reading in many different languages and responding to the Bird and Macfarlane’s prompts in such divergent ways, meant that for those dark nights over the midwinter and festive periods, many new friends were made and, indeed, artwork inspired.

A few days after the online reading group finished, the author sent a heartfelt email to Macfarlane saying: “writer, reader: when our imaginations speak the same language, we can change each other’s lives.” 

With that in mind, hear to hoping that we repeat the process later this year.

Tuesday, January 02, 2018

The Soundtrack to My 2017

Over the latter half of 2016 I had enjoyed curating a short playlist of songs that evoked a particular memory of a place or feeling at the time. The process itself was so interesting (never truly knowing which songs would still be melting my iPhone headphones many months later) that I thought I would repeat the process all over again in 2017, adding, deleting and re-adding to my Apple Music playlist over the course of the entire year.

As before, the criteria for inclusion was simple: the songs had to have spent a substantial amount of time getting played on my Apple Music account over the previous 12 months, whether they are from 2017 or not.

As for 2017, it was a lot less weird for me on a personal and professional level, but completely eclipsed 2016 in terms of bizarreness at times.


Right Stuff by Noel Gallagher’s High Flying Birds

I feel that over the two years, not only have I been guilty of neglecting Noel Gallagher’s solo material, but I feel there has been a bit of a tendency by the music press to be quite reductive in describing his ability to be musically diverse.

Upon starting to work though his back catalogue, I found this track and was heard a number of things that caught my ear: the jazz-like drumming; the soulful shared lead vocal with a female vocalist, Joy Rose; a step away from the Oasis-era jangly acoustic guitars in favour of bassier flavours; and an overall much more blissful vibe.

I can’t remember exactly when I first heard it, but its soulful positivity served as the first song of the day on the walk to work quite often in 2017.




Zina by Babylone 

There’s definitely something about Essaouira, a small Moroccan town on the Atlantic coast, for making me fall in love with random Algerian songs. Last year it had helped to kick-start my near-obsession with Cheb Khaled, this year, on a quiet day of not doing much before heading to the small village of Sidi Kaouki with Cous Cous and Amy, this song had come on the aging sound system on the ground floor.

It perhaps fits with the low-key vibe of a place like Essaouira whilst having an Darja (Algerian Arabic) chorus that is so catchy that even I know the words off by heart. It is a love song, or rather a song about someone who is looking for the girl who has stolen his heart, but can't find her.



Redbone by Childish Gambino

A good friend first played me this song years ago, but I it hadn’t lived long in my memory for whatever reason. It was on the sun terrace at Equity Point in Marrakech, whilst listening to a soul playlist in the late afternoon sun on Apple Music, that it came back into my consciousness.

At first, I thought it was a Macy Gray song, but going onto YouTube (a mission in itself with slow internet) I discovered it was in fact a stage name for the actor Daniel Glover. Beside the feisty bassline and beat, the refrain ‘Stay Woke!’ screamed in Glover’s falsetto should be a timely reminder to do exactly that as the world goes mad around us.

There isn't an official video available for the song in the UK, but the song does the talking. Warning: has some language that may offend.



Smash by Avishai Cohen

Early in 2017, my good friend Jonesy found love and figured it was time to introduce her to me for judgement. His choice of venue included food in a Shoreditch restaurant followed by a trip up to the Vortex Jazz Club in Dalston to watch his favourite Ronnie Scott’s late show band, Fletch’s Brew.

Towards the end of their set, Laurence Cottle, the band’s bassist launched into a few bars of a jumpy baseline, before the rest of the band, led by the heavy snare beat of Mark Fletcher on drums, joined in. The song was their cover of Smash.

Later, when I searched for the original online, what I found was an equally punchy jazz track driven by Avishai Cohen’s double bass but with raw and evocative sound of the oud appearing mid track in place of a guitar or sax. This song perhaps became the sound that best defined the year for me and seeing Avishai Cohen live is high on the priority list for 2018.

Unfortunately, there isn't a music video for the track and some of thelive versions without the oud don't do it justice, so here is the official audio from YouTube.



The Rest

There are of course many other songs on my 2017 playlist. These songs include: the stripped back funk of Miles Mosley (Abraham), Coldplay at their most motivational (Miracles) and in conjunction with the Chainsmokers (Something Just Like This), the gritty Steve Earle (Feel Alright) who will now forever remind me of the ending of Season 2 of The Wire and the ever-amusing Nicki Minaj who, on her collaboration with Major Lazer and PARTYNEXTDOOR tells us all what we really wanted to know – that she doesn’t put sugar in her spaghetti sauce (Run Up).

The full playlist can be found here: Ayohcee 2017 Apple Music Playlist

Chester Bennington

Finally, a quite significant mention should go to one of the last tracks on the playlist Encore/Numb by Jay-Z and Linkin Park. This year Chester Bennington of Linkin Park took his own life. Their album Hybrid Theory was a massive favourite with my friends and me at Aylesford Sixth Form, and I’ll always be thankful for the contribution to those fond memories that Chester and Linkin Park’s music made. 

I can't really write anything profound enough here, but you can never be sure what personal battles someone may be silently fighting, so, however your day is going, always give someone the time of day.


Sunday, December 17, 2017

Atay Maghrebi: Skala du Port, Essaouira

The fortified tower of the UNESCO World Heritage Site of the Skala du Port, Essaouira.
As I sat on the highest point of the roof terrace drinking coffee, I scanned around the view: flaking whitewash on all but a handful of buildings, rusting chimneys pumping out benign traces fire of black smoke against the hazy blue canvas and lending the whole town a sea-bleached aspect. 

I decided to take in high tide down by the Skala du Port, a place I had visited the year before.

The Skala du Port is perhaps the most obvious example of the Portuguese colonial history of the town they called Mogador. A castellated fortification, it joins the main wall around the medina, before holding out a protective arm against the Atlantic breakers around the fishing port and the shipbuilders.

From the top of the fortified tower, a mere 10dh to get to, the view looks towards the Île de Mogador and the ocean in one direction, and the medina tightly huddled past the rising smoke of the fish grills by the main square in the other.

Inside the harbour wall, there is a constant hive of activity as fish is landed and quickly sold in the nearby market, with families sitting near to the wooden hulls of ships being built whilst they wait for their fish lunch to be grilled. With seagulls wheeling overhead, local boys spur each other on to dive from the wall into the waters of the smaller inlet, filled with the ubiquitous little blue fishing skiffs, becoming increasingly raucous in response to their friends’ successes or failures.

The small rocky area in front of the UNESCO world Heritage site could perhaps do with some love. The rock, that looks almost volcanic, creates something of a lunar landscape and provides a place for young Moroccan families to pick off shellfish and explore, and for old men to sit and contemplate the passing of time with each breaking wave. 
Looking across the rocks at low tide near to the Skala du Port, Essaouira.
The only sad thing is the amount of litter that is strewn across the rocks; plastic bottles, sweet wrappers and paper. When I later had a conversation with a Frenchman living in Essaouira, his response was, “but you see, Tomás, you are thinking like a European."


Later, I went in search of a former colleague’s dad who runs the Dar Latigeo, a small hotel not far from the second thoroughfare near to the fish market. The building is squirrelled away down a narrow alleyway, but inside seems massive, light and spacious. 

Having woken George, albeit inadvertently, from his siesta, he invited me in and his partner set about making me a coffee. Thankfully, it seems he was half expecting me after being tipped off by his daughter.

He is an interesting man. He told me a number of stories of his working life in aviation before he came to Essaouira – something that appears to have been a decision made more by accident than design. His work had taken him around a good deal of Africa and the world, but this little town clinging to edge of the African continent seems to suit him.


That Evening, Cous Cous, the manager at the Atlantic Hostel, created another epic meal for around forty people.

This time, the menu started off with what he called Moroccan tapas, followed by a kind of fish meatball, chickpea stew and a huge beef tajine. Desert was fruit salad with the incredibly addictive amlou, honey and yoghurt mixed in.

During dinner and afterwards, I got speaking to JK (an American by way of Korea), Hannah (from Northern Ireland) and Sophie (from Alabama, USA).

JK spoke about the career he was hoping to forge within the charity sector, based on the American west coast, but operating in sub-Saharan Africa. Hannah and Sophie, it transpired, had made their way along the Santiago de Compostela pilgrimage route across northern Spain, before deciding, somewhat on a whim, to continue their travels southwards towards Morocco.

After finishing dinner, singing a line from Formation by Beyoncé a few times and conversing about where everyone was going to next, Sophie said, in a deep Alabama drawl, “so Tom, what happens on the roof at night?”

“I’ve warned you not to crack on to me!” I replied and we all headed up to the roof and the chilly evening air.


Lessons Learned:

  • Under, what Lonely Planet, calls the 'curtain of seagulls' in Essaouira, it is always a good idea to walk quickly and without fish in your hands…
  • It is okay to do very little with your day in a place like Essaouira.

Sunday, December 03, 2017

The Wren Boys by Carol Ann Duffy

Cover image © Picador/Dermot Flynn
As an English teacher it is impossible to escape Carol Ann Duffy. A couple of years back, a colleague in my department perhaps to rub this in, perhaps because of the story's link to Ireland, or maybe just seized by the Christmas spirit, bought me one of Duffy’s small seasonal poems, The Wren Boys, beautifully illustrated by Dermot Flynn.

The tale of the poem links to a rural Irish tradition that takes place on St Stephen’s Day, the day after Christmas Day, whereby groups of people will dress up and go hunting a wren.

According to the various myths, the wren, or wran, is thought to have betrayed the Saint’s whereabouts to his captors with its song and to have cheated against an eagle in a flying competition.

The writing is wonderfully evocative of a cold, rural Christmastime:
The old year, a tear in the eye of time;
frost on the blackthorn, the ditches glamorous
with rime; on the inbreath of air,
the long, thoughtful pause before snow.
The air is filled “everywhere musky with peat from the first fires/as though the hour had started the day/with a neat malt” which, to a country boy like me, can’t help but strike a nostalgic chord.

When the Wren Boys’ search is ultimately fruitless, they still manage to end the day with a celebration:
while the Wren-Boys boozed and danced at the Inn;
one with a widow, one with the farmer’s daughter,
one with a sweetheart, one with a sozzled priest.
Later, the snow settled, a star in the east.
It’s a short read, but a perfect way to start December, or to pass the time whilst you listen to your family argue over whether to watch an Agatha Christie adaptation or Wallace and Gromit on Christmas Day.

The full poem and some of Dermot Flynn's illustrations can be read on the Guardian's website: https://www.theguardian.com/books/2015/dec/19/wren-boys-carol-ann-duffy-christmas-poem

Wednesday, November 01, 2017

Atay Maghrebi: To Essaouira and the Atlantic

Street life: looking towards Mosquée Ben Youssef in the medina, Essaouira.
Leaving Marrakech, the landscape stays flat, except for a few distant outcrops of rock. The sensation of the inhospitality of the environment creeps up on you as the olive groves become fewer and further between and rough scrub runs away to the base of distant hills.

Eventually, the landscape starts to undulate as you pass through small towns like Sid L’Mokhtar, and, after two hours, Morocco simply runs out of land as the coach starts to plummet down to the Atlantic coastline and the peeling whitewash of Essaouira’s medina.


The morning started with the obligatory slices of sweet cake dipped into apricot jam, with a side of yoghurt and coffee. I had a chat with Merissa who was already awake and wearing sunglasses like she was nursing a hangover.

I packed up my bags and meandered my way out of the medina towards Bab Laksour to get a taxi.

Having learned the lesson last year that taxi metres are always mysteriously broken in Marrakech, I readied myself for a battle with the driver who had emerged from the morning shadows of the arched gateway to the outside world.

“You want a taxi?” the friendly looking driver asked.

“Yes, but only if your metre is working,” I replied.

“It’s a fixed tariff. Look I’ll show you.”

“You don’t need to show me anything. Tell me how much it is to the bus station.”

“I’ll give you for 60dh.”

“No way! It’s only down the road.”

“60dh. It’s as far as the airport and that is 70dh on the tariff.”

“That’s okay then. I’ll look somewhere else. Bsalama,” I finished in a friendly tone and walked off.

“You can get in,” a man in a blue Adidas tracksuit said, chasing after me.

“40dh to the station, and I’ll give you 50dh if you can get there in 5 minutes.”

“Get in,” he said, his face looking distressed at my insistence of knocking what equates to about £1.50 off his fare, but that saving would cover a quick lunch later in the day for me.

Last year I had caught the CTM bus to Essaouira, but this year, on another taxi driver’s recommendation, I’d booked a seat on Supratours. Supratours are owned by ONCF and so their buses leave from the old railway station building around the corner from the more modern new station.

As anyone who has ever visited the small town of Essaouira that clings to the African mainland looking out into the Atlantic sea, the crowd on board the bus was eclectic: Moroccan families, German families, Aussies fresh from Bondi, Americans dressed like they were in Malibu and a Belgian guy who looked like an overweight Jean Claude Van Damme.


Located down a narrow alleyway grandly named Rue El Abbana, off the main Avenue Mohamed Zerktouni that runs through the heart of the medina and near to the fish souk, Atlantic Hostel had symbolised a turning point in my trip. It was the point at which I’d shifted from thinking ‘what the hell am I doing here?’ to ‘I actually like it here!’

Amongst the urban gothic mist rolling off the sea, permeating through the tight lanes of the medina, the echoing bells of the water-sellers and the ghostly cries of shrouded seagulls, I’d managed to find an assortment of people to provide both entertainment and good company.

Two guys called Khalid, and their enigmatic friend Strex; a Scotsman learning Arabic in Casablanca; an Aussie teacher based in West London; and later on the classmate of a Ugandan friend’s little sister who now lives in Holland.

We had initially bonded over luiza tea, amlou and cheap shawarma wraps from the kebab shop opposite the hostel. With the weather being as it was that year, there hadn’t been much else to do except read, chat, and eat, but it was all that any of us seemed to need. It also marked the point that I had first heard any music by Cheb Khaled.


This year, I was looking forward to Atlantic Hostel’s ramshackle charms and had spent time extolling them to Marissa the night before.

As with Marrakech, the welcome familiarity of the place brought a smile to my face as a young volunteer called Younus checked me in to the hostel.

Sunset over Essaouira in the direction of the Atlantic Ocean.
A few minutes later, the manager, Yassine, or Couscous as he is more widely and affectionately known, came through the door.

“It is you!” He shouted. “I knew it! I saw you in the medina and was trying to guess if my brother was coming back to the Atlantic.”

We started to recount a couple of stories from the previous summer, at which point Couscous hugged me and spent a good portion of the afternoon and evening plying me with atay and coffee. All the while, he prepared food for the hostel’s evening meal to a soundtrack of Tuareg and Imazighen music as more of the evening’s guests rolled in – the music only stopping for various adhans as the day rolled benignly into evening.

❦ 

The meal itself seemed a much grander affair than in previous years.

Shortly before the meal, the much smarter downstairs area was set out with large tables, covered in red cloths, all with enough space for around forty people, all lit by cosy candlelight.

The starter was hearty and warming harira soup served with the ubiquitous Moroccan flattish bread rolls.

This was followed by chicken tagine made with onions, preserved lemons, dates, ras el hanout spices and olives. A really salty rice side dish appeared also with more bread, which was great when dipped into the sauce of the tagine.

Dessert was fruit salad covered in yoghurt and amlou – a sort of Moroccan peanut butter made from ground almonds, honey and the key local ingredient, Argan oil.

This was washed down with special tea and an impromptu drumming display by some of the staff.


Lessons Learned
  • Cats can sleep through very loud Tuareg music.
  • Revisiting places of uncertainty can result in you truly moving forward.

Monday, October 30, 2017

The Ghost of Thomas Kempe by Penelope Lively

Cover image.
One part of my job involves me walking around other English teachers' classrooms and making sure that our younger students are getting the best from of our department. On one such ramble I saw a copy of The Ghost of Thomas Kempe by Penelope Lively (1973).

The one and only time that I had previously come across the book was during Miss Appleby's Year 8 English class at Aylesford School, Warwick. It had been the focus of one half term's assessment, but now twenty years later, I thought it would make a good Hallowe'en book to read.

The story is set in the early 1970s and centres around a young boy, James, and his family who have just moved into a small cottage in the fictional Oxfordshire village of Ledsham.

The tale begins with workmen in the roof of the cottage converting the attic into a bedroom. As they are chipping away at the walls, a small green bottle, seemingly hidden behind the plaster, falls out and onto the ground, smashing in the process. 

Not long after this innocuous incident, strange things start to happen around the house; writing appearing in an old script, strange draughts, and things suddenly breaking. It soon becomes apparent, to James at least, that there may be something more supernatural going on.

Inevitably, the strange behaviour gets blamed on James, much to his older sister's delight, but with his roguish dog Tim as a guardian and his slightly disbelieving friend Simon on hand to provide some moral support, he sets about getting to the bottom of the mystery.

Illustration from inside the book.
The book definitely shows its age, and, being aimed at children, brings with it a host of predictable plot twists. It would be easy to think this story would no longer be interesting in a world where there is now so much children’s fiction filling the shelves, but this does the story a disservice.

It is a quick paced, engaging, funny and, ultimately, relatable story that many a mischievous child (or adult) would be intrigued by. Furthermore, in terms of the vocabulary Lively uses, it is a cut above some children's literature.

Penelope Lively’s own interest in the changing nature of society and our relationship with the past permeates the narrative. Throughout the story there are hints at the encroachment of modernity, the burial and ignorance of the past, and one boy’s struggle to mediate between the two. Indeed, as the story unfolds, we see that even the eponymous poltergeist struggles to fit in to this new world being from such different times.

For me, the story obviously represented a brief nostalgic trip down memory lane to a time when I sat at the back of an English classroom terrorising the teacher and two girls called Jenny with my own mischievous nature, but in the present, it made for a decent Halloween read.

Saturday, October 14, 2017

Atay Maghrebi: Out of the Dark and into Jemaa El-Fnaa

The setting of the sun can be the start of everything in Marrakech.
The night time offers a wealth of opportunity and intrigue in almost any country, but when I'm somewhere where my understanding of the language extends to just a handful of phrases and disconnected words, I find it all the more enthralling. Marrakech genuinely quickens the pulse and widens the eyes by night, with the famous Jemaa El-Fnaa as its wildly arrhythmic beating heart.


After a day of perfectly idle wandering and preparing for my journey to Essaouira, I sat up on the roof terrace, ordered atay, read the ending of Alex Garland’s The Beach and waited for sunset.

During this time, a Dutch woman and a Belgian man sat near to me and started to talk about a range of subjects. Most of their discussion was centred around the regular banalities of two travellers who don’t know each other well and clearly don’t have a great deal in common.

Shortly before sunset, the Belgian man caught my attention as he started to regale his newfound friend with quotes from the Quran taken both out of their religious and historical context, and all of which seemed to centre around the killing of polytheists. 

I was initially a little shocked, but less so by the chosen topic, but because just moments before the man had been explaining how he’d been learning Arabic and had taken the time to read the Quran. The saddest irony was that his diatribe continued, to my annoyance, through the adhan for the maghrib prayers. He may have not have been either an Islamophobe or xenophobe, but he did his best to present himself as one.

I had to use a fair amount of willpower to resist joining in as what is arguably one of the most beautiful moments in the medina was disturbed by his ramblings. I remembered that I was on holiday and arguing with ignorant tourists mightn’t be the best idea.

Furthermore, his telling of these stories about the Quran seemed to be some strange flirting ritual, in the same way that boys tells stories to scare the girls they like at Primary School.

After about twenty minutes, the Dutch woman, who had been pretty silent save for the occasional moments of noncommittal back channelling, could be seen visibly tiring of the topic.

“Sorry, I am boring you?” the man asked.

“Not at all,” the woman said through a stifled yawn.

Continuing to ignore the cues, he carried on for another 10 minutes before they both retired from the rooftop, finally leaving me in peace to enjoy the warm darkness of the medina air.


Returning to the dorm, a new arrival was lying on one of the top bunks.

Marissa, was a Canadian devised theatre teacher and, despite her fatigue, soon became animated when recounting her travels from Italy to Morocco.

After chatting for a little while about education, I headed out to find food. Very quickly I replayed a bit of the conversation that we’d just had.

“The souks are magical by night as everything is so brightly illuminated,” I had said.

“I’m not ready for walking around for walking the souks alone at night,” she had replied.

I returned to the dorm, told her where I was going and she decided to come along for a brief walk, through the medina alleyways and souks, to the Jemaa El-Fnaa for food and street entertainment.

Once we were amongst the golden glow of the nighttime lamp shops, dress shops, piles of multicoloured spices and hanging rugs, Marissa became even more animated, although her tiredness  had started to affect her ability to speak. 

We wandered around the square for a while, taking in: Adil the One Man Band, who seemed to have an instrument attached to every conceivable part of him; a number of Gnawa musicians, both young and old, with their hypnotic strains and revolving lineup of musicians as the endless songs continued;  and something not too dissimilar to “Hook a Duck”, where punters had to get a ring over the neck of a 2 litre bottle of Fanta, using a wooden rod and a length of string.

All across the haze of smoke from the multitudinous grills, small huddles of people could be seen around snake charmers, monkeys, storytellers and henna artists. Barely a square foot of space was visible beneath the gentle ebb and flow of promenading feet.

A couple of tajines later at the Toubkal, a favourite café from a previous visit, and a slow amble back through the now rapidly-closing souks, we were back the hostel for a night of listening to other people snoring and trying to be quiet whilst walking in and out of the rooms.


Lessons Learned
  • I should have given the entertainment on Jemaa El-Fnaa a chance sooner.
  • Gnawa music by night is perhaps one of the simplest and most enjoyable ways to fall into a hypnotic trance.

Wednesday, September 06, 2017

Atay Maghrebi: 'Your Eyes Aren’t Moroccan' and Palais El Badi

The Koubba al Khamssiniyya, seen across the orchards, in the Palais El Badi.
Arriving the day before, I had rolled along the main road from Marrakech Menara Airport in the front seat of the transfer bus. All the way I had sat with a wide smile on my face as the familiarity of the scene unfolding before me was reabsorbed by my mind. 

There were the old men on even older motorbikes meandering along the side of the road, young women in hijabs racing along on mopeds talking into iPhones, and donkey carts dislodging there loads as they bumped along the thoroughfares. All this in bathing in the unbridled dissonance and a perfect cacophony of car horns.


The day had started with actual clouds in the sky and the sun somewhat subdued. Never one to intentionally miss an opportunity to avoid sunburn, I finished breakfast quickly and headed off towards La Place des Ferblantiers with the Palais El Badi as my ultimate destination.

Crossing the square, muted in the pre-lunch haze, a lady in a purple niqab approached and addressed me in French, "Bonjour monsieur. Ca va?"

"La shukran," I replied in poorly pronounced Arabic as she started to show me the range of jewellery that seemed to climb up her wrists in a vine of fatigued copper.

"You’re Moroccan," she said in high-pitched Arabic pointing to my skin, at this point still burnt from Sports Day.

At this point I took my sunglasses off to better show my facial expression and she almost jumped back saying, "You can't be! Your eyes aren't Moroccan!" She stood staring at me in a moment's awkward silence. I shrugged almost apologetically.

Using the opportunity to give her the slip, especially as I wasn't in the market for a very feminine looking bracelet at this point of my journey, I made for the archway at the northern side of the small plaza, dodging a plonker riding his moped past a 'don't ride your moped here' sign.


Palais El Badi, the name of which implies its beauty as 'incomparable', is explained as being both inspired by and comparable in beauty with the Alhambra in Granada, Spain. This was, of course, before the ravages of conflict and time cast their jealous shadows over the Saadian rulers’ great architectural gem in Marrakech.

Stepping into the grand courtyard it is, in many ways, much grander in scale to the largest square of the Nasrid Palace that sits on the edge of the hillside in the Alhambra complex, but lacking the ornamentation in the masonry and water in the pools, it took a little bit more imagination to conjure such an image of majesty - luckily I had visited the Alhambra on my birthday earlier in the year and could rebuild the palace, albeit mentally, as I cast my eyes about.

Each corner of the grand courtyard has a small orchard sunk into the recesses either side of the two large pools. During my visit, these orange and (I think) fig trees spent their time being carefully tended by a few gardeners in the ever-present Marrakech heat.

In one corner of the courtyard, an archway opened onto a smaller courtyard whose trees offered a group of Spanish visitors some shade. Past a jolly guard, and through a smaller doorway the restored minbar from the Koutoubia Mosque is housed.

The minbar, to the untrained eye looks like an ornate set of wooden steps. It is from these steps that an imam delivers a service inside the mosque, similarly to a pulpit in a church.

The room itself is a museum of sorts to the restoration of the Koutoubia’s minbar. Around the walls, small details of the intricate wood engravings have been recreated to portray the stages of the process which was undertaken in America. The woodwork is all unfathomably intricate and includes kufic script asking for the protection of Allah for both the Saadian sultans and for the Koutoubia mosque.

Further around the courtyard, there’s an exhibition further examining the Saadian artisans’ craftsmanship, along with some original cartography and a rather striking picture of the Sultan Al-Mansour's emissary to Elizabeth I. He didn't look like the kind of guy you'd want to upset in a hurry.

A real highlight for me though is a photographic exhibition of Marrakesh in days of old. Concealed beneath ground level, gallery shows how, especially in the case of Jemaa El-Fnaa, some aspects of life in the medina really haven't changed: that same combination of snake charmers, musicians, food for sale and storytellers can still be find as dusk descends. 

One particularly interesting form of entertainment depicted in one of the photos was what appeared to be a rather rudimentary, hand-operated Ferris wheel, complete with simple seats mounted inside cramped-looking wooden boxes, all attached to a basic wooden frame. They really should bring this back. In addition, there are a large number of photographs and artefacts showing everyday life for Marrakech's Jewish community in the past.

After resurfacing into the Marrakshi air, feeling smug about only having paid 20dh to enter the Palace, I headed back towards Place des Ferblantiers, deftly pirouetted past the jewellery seller like an oversized ballet dancer, and crossed to a small café facing the madness of the lunchtime traffic. Here, a man from Meknes persuaded me that my plan to take a Grand Taxi to Essaouira was mental and that it was CTM or nothing. On that basis, I obviously booked onto a Supratours coach.


More by accident, than by design, I had started writing notes in my red notebook again exactly one year after I had stopped. 

Work commitments, amongst other things, meant that I never got to talk about the train from Marrakech to Tangier, the lunacy of being in a romantic hotel by myself, meeting regular Moroccans, visiting Essaouira and stumbling across a schoolmate of a Ugandan friend’s sister and then returning to the UK completely in love with this corner of North Africa.

As the Atay Maghrebi drinking continues, those stories may find themselves woven into this one, as, after all, tales committed to our hearts often breathe longer than details we struggle to keep in our minds.

Lessons Learned
  • Attending Sports Day before a holiday is good for your skin tone.
  • Everything is easier the second time around.

Sunday, May 14, 2017

Atay Maghrebi: Bahia Palace and Reflecting in the Souks

A courtyard inside the Palais de Bahia, Marrakech, Morocco.

During breakfast of orange cake, yoghurt, atay and the world’s sweetest apricot jam, the distant shape of a plane takes off carrying Ireland’s answer to Ali Baba back home. All around me are the chattering voices of a multitude of languages; French, mainly, but also a smattering of German, Dutch, Italian and Spanish, mostly belonging to females.

Having become really accustomed to the main thoroughfares of the medina, the ways in and out, and a few landmarks, I hear stories of being lost and confused.

J'ai tourné à gauche comme il l'a dit. Maar ik was op de onjuiste plaats. Sucedió tres veces más.


Last evening, after dinner, I had swapped numbers with Dee. The idea was to head to the Palais de Bahia (or Bahia Palace) together after breakfast, but there was no real sign of her anywhere.

At around half past ten, I received a message from Dee saying that she been up all of the night chatting to her dorm mate, a young Moroccan woman, but still wanted to come along.

So, a little later than anticipated, we started out, wound away through the late morning shade of the souks where, amazingly, some stall owners and shop owners were only just opening up.

Thus far I had resisted the lure of shopping. I am a reluctant shopper at the best of times, and it can bring out a rather impatient side of me. I’ve become accustomed to a style of shopping similar to a smash and grab raid; the one difference being I will always pay.

That said, after emerging into the intense heat of the morning from the shade of the souks, crossing the quiet Jemaa El-Fnaa, heading along the noisy Avenue Hommane Al Fatouaki and reaching the Place des Ferblantiers, we came across a herbaliste shop.

The shop owner lacked the truculence of some of the shop owners in the souk, and proceeded to guide us through his most prized stocks. Of particular interest to us was the reddish tajine spices mix in its pure form. He pulled out a handful, put it through his loud mechanical grinder and told us to smell it. 

The scent was so fresh, fiery and unlike anything European. The note of star anise behind the strong palate of North African spices was apparent more so than in any tajine I had eaten so far. At 800dh a kilogram, or roughly €80/kg, it wasn’t cheap, but the richness of the scent was very tempting. 

Dee, who was taken in by it all, went a bit mad gathering dried mint, some Ras El-Hanout and eucalyptus, not realising it was all adding up to nearly 700dh in total. Going into a mild state of shock, she ditched the eucalyptus, that were actually 10dh per gram, and the price plummeted to 250dh and her heart rate returned to normal; she hadn't realised that the tiny crystals were priced so differently. Amazingly, despite the sign stating that the price shown couldn’t be negotiated, she talked them down to 200dh and the spice seller threw in some form of natural lipstick and a pumice stone.


Escaping the clutches of what was, in all honesty, a rather slick sales pitch unscathed, we walked the short distance, guided by the shop owner, around the corner to the Bahia Palace.

After the stupid amount the guide at the tanneries and the subsequent leather shop had tried to charge me for his tour, the entry fee of a meagre 10dh for the Bahia Palace seemed so minuscule, and so much more worth it.

A window inside the Bahia Palace, showing intricate woodwork and painting.
The palace was built during the 19th Century and its name translates as ‘brilliance’ or ‘brilliant’. It was strarted off by Grand Vizier Si Moussa and added to by Bou Ahmed to be purposefully beautiful. 

The palace is composed of a complex of courtyards in the style typical of a riad with rooms facing inwards to the courtyard, rather than outwards. Each courtyard is in someway distinct and was used for housing wives, concubines and visitors.

Some have carved wooden arches with painted alcoves, surrounding a densely wooded square of palms and bushes; others have an open courtyards with intricate zellige tiling surrounding a central water feature. The grandest of all is around 80 metres long, according to the guide, and is surrounded by white colonnade made entirely of cedar wood, with a smooth marble floor that reflects so much of the midday sunlight that it looks like an ice-skating rink. Dee confesses that this is the first real historical attraction or monument that she's visited since arriving in Marrakech, and we take an age photographing almost every last detail of the complex.

We later retired to the Kif Kif for lunch so that she can finally try the kefte tajine, having barely been near a tajine at all. Looking over the square towards the Koutoubia, she is equally as in awe of the flavours of it as I am, but we agree that it perhaps wouldn't be the same if you tried to recreate it at home – or would it? How much of the pleasure you get from food is connected to the context in which you are consuming it?


That evening, we met on the roof for atay just before the adhan for the Maghrib prayer. After a while Paul, a friendly German joins us. I thought that all German speakers would have a radar for one another, but both Paul and Dee don’t work out they speak the same language for the longest while.

Before heading out to the Tabkhoul for an evening snack of harira soup, Moroccan salad and chicken pastilla, Paul and I discussed Brexit.

He lends a sympathetic ear as I explain how a number of my colleagues and I felt that the Remain campaign had been weaker and lacked a figurehead; about how those who voted leave were wooed by the big headline figures, and seemed to be expecting an immediate change.

I realised that I'd been talking non-stop for most of our walk, but Paul found it interesting, especially the infamous “£350 million a week” NHS bus poster.

Wandering back through the souks after eating, it was hard not to see why they have such a charm. The glowing lights reflecting off any number of ceramic and metal wares makes for a quite enchanting scene in the labyrinth of alleys, coupled with the gentle intermingling of Moroccans and tourists from all over the world.

The quieter passageways can hold a certain fear factor for visitors during the day; their narrowness can exclude nearly all forms of daylight from reaching down to the cobbled floor. Coupled with this, the truculence of some of the traders nearer to the Jemaa El-Fnaa, easily misread by nervous tourists as aggression, means that it is no wonder that you will hear people saying that two days of heat and hassle is enough for them.

By night, though, the transformation is complete. Not only is there, ironically, much more light in the souks as they bask in the golden glow of electric light, but more people are on the streets and in the narrow lanes. The result is you're never isolated and any possible negative attention you may receive is heavily diluted.


Lessons learned
  • The best things in life cost 10dh
  • After Maghrib prayers, the souk is a magical place

Thursday, May 11, 2017

The Penguin Lessons by Tom Michell

Cover image © Penguin Books.
In need of an uplifting story to get 2017 started on the right note, Tom Michell's The Penguin Lessons seemed to fit the bill perfectly.

I was on the phone to a friend when I bought the book, stood in Hammersmith Broadway, craving a bit of non-fiction. I actually couldn't decide between this book and Jon Krakauer's Into The Wild so I ended up buying both.

In the mid-1970s, Tom Michell left the UK with a plane ticket to South America to start a teaching job at a private school in Argentina. The story starts when the author takes a stroll along a Uruguayan beach at the end of a holiday. Whilst walking he finds a horrific scene; hundreds of penguins, covered in oil and tar, washed up on the shore dead. 

A few moments later he notices some movement and spots a survivor; the penguin who names Juan Salvador:
One valiant bird was alive; a single surviving soul lying on its belly and covered in tar like the others, but making little spasmodic jerks of its head and wings. Death throes, I assumed.
After an initial fight against the grumpy bird, Juan Salvador, who is also referred to as Juan Salvado (‘saved’ rather than ‘saviour’), is taken back to the flat that Michell has been staying in and is cleaned. 

Satisfied with his efforts, Michell takes him back to the sea, leaves him to it, but soon realises that the bird is following him back up the beach. Despite his best efforts, the bird won't leave him alone.

So what would you do in this situation? You would smuggle the penguin into Argentina where you have a job teaching in an international school, of course.

What unfolds is a story, set in part against the social history of Argentina at the time – you learn of Eva Peron, descamisados and coups – whereby the penguin becomes an integral part of life at the school.

All the time, Michell tries to learn more about the small Magellanic penguin and the two of them create quite a bond in the process. Juan Salvador also becomes the school rugby team’s mascot and encourages a boy, who struggles academically, to swim.

Moments in the book are, at times, evocative of that most famous of South American travel stories, Ernesto ‘Che’ Guevara’s Motorcyle Diaries, but with the inclusion of a penguin and a distinctly British undertone.

The book is light-hearted, a bit eccentric, and full of poignant moments, but, overall, carries the message that a penguin can teach us about the need to look after each other and to take care of the planet for all creatures before it’s too late.

Saturday, May 06, 2017

Atay Maghrebi: The Saadian Tombs

Inside one of the mausoleums at the Saadian Tombs, Marrakesh.
Stepping out of the cool darkness of the shuttered dorm, into the shade of the courtyard and then up onto the bright reality of the roof terrace, I realized that Saturday morning seemed to have even more of a Sunday morning feel than Friday did. The hotel was silent save for the handful of people at breakfast and the usual group of sparrows dancing around, picking up cake crumbs from the buffet.

The massiveness of the pale blue sky would seem almost oppressive, were it not for the distinct outline of the Atlas mountains in the distance and a handful of minarets nearby. Only the occasional revving of a moped shimmying through the alleyways brings you back into your present.


Getting more used to the Marrakshi heartbeat, I decided to stick to my plan of going to visit something specific in the cooler morning air. Today, it was my full intention to reach Le Palais de la Bahia, or Bahia Palace.

Setting off, passing through the narrow passageways of the medina, a route with which I had familiarised myself the previous day, I made my way along Boulevard Fatima Zahra, onto Rue El Mouahidine and continuing on Avenue Hommane Al Fatouaki.

In a small navigational error – I hadn't restudied the map from the guidebook and was going mobile internet free – and ended up turning a couple of streets too soon.

Walking past an unending line of camel-coloured grand and petit taxis, I found myself not arriving at the Bahia Palace, but walking below the castellated walls of the casbah and into the square opposite the Moulay El Yazid Mosque.

I turned the corner, and found that another of Marrakech's historical monuments, the Saadian Tombs squirreled away in an innocuous corner, nestled between the walls of the much younger mosque and the modern palace.

Once I’d got past the man trying to sell me a German guidebook to Marrakech, I discovered that entrance fee was only a minimal 10 dirhams.

The Saadian Tombs are a curious attraction. On the face of it, you may be tempted to think it isn’t visually too spectacular apart from a couple of the larger mausoleums, but you’d be wrong.

The Saadians were a ruling dynasty in Marrakesh and Sultan Ahmed Al-Mansour decided that a fitting monument to his rule would be a mausoleum made of Italian marble, golden muqarnas plasterwork and colourful zellige tiles. The tombs house a number of princes, wives and nobility.

What is the most curious thing is how such a monument has survived, seemingly at odds with Islamic convention. The Saadian Tombs are, in essence, a monument to a past dynasty of kings, and my understanding is that any such memorial could be considered a form of idolatry.

The Saadian Tombs are well hidden between high walls in the casbah, Marrakech.
Indeed, the Wahhabi movement in Saudi Arabia has, over the years, removed a number of historical sites connected with the history of Islam lest they detract from the sole worship of Allāh.

What you discover is that the subsequent Alawite ruler Sultan Moulay Ismail walled the tombs up so that they were completely hidden from view. Some say it was superstition that prevented him from destroying them.

For lunch I spend an hour or so on the roof terrace of Café Casbah overlooking the mosque and the entrance to the tombs.

Somewhere in the distance a rhythmic beat appeared and disappeared like a ghostly carnival before the relative silence of this neat little section of the city returned.


That evening, shortly before Magrib prayers are called, I meet with Dee on the top terrace and we talk briefly before she attempts to meditate.

Allahu akbar… hayya'alas-salāh

After a while she gives up and reveals that she's had an awful day. It seems that after ten days of travelling alone she is homesick and has spent most of the day buying new flights to Barcelona, but is now worried about how to proceed onwards to Switzerland.

I reassure her by saying that she is, in fact, remarkably brave to be travelling alone. I'm attempting it for the first time and I was homesick after about five hours, let alone ten days – although, I admit tiredness played a part in how I felt.

It transpires that, in spite of having a partner, she mainly travels alone.

"Maybe though, at this time, it is not the right thing for me," she says.

After a while we are joined by Rory - a red-headed, harem-pants wearing Dubliner with a beard that's so good it's practically sunnah. He is quite a sight and when we are joined by Ella, an Irish primary school teacher, Dee’s mood lifts.

We resolved to find some dinner, wandering through a part of the medina that I’ve not been through yet and settling for a small café just off the main part of Jemaa el-Fnaa. Crucially, most of the customers seem to be Morrocan, rather than European.

Rory and Dee are good company and it felt good to be in a group rather than alone. Rory designs video games for smart phones and is having a short break before heading back to meet the launch deadline for his app. He is quietly optimistic about the potential success of it.

Dee is a dance and yoga instructor. She is self-employed and is less certain about things. She tells us about how she can't really have a sick day because she won't get paid.

Rory, who was self-employed for a long time, offers a few bearded words of wisdom and encouragement, looking as he does like a wise character from One Thousand and One Nights.

Throughout dinner, where I opted for merghez sausage, harira soup and Morrocan salad, we talked about where we are now and where the immediate future may take us.

Denmark got more than a fleeting mention from me and I momentarily daydreamed about the prospect of leaving the UK – my own Brexit brought about by a perfect cocktail of circumstances.

After offending a diner, whose dinner-stained white shirt meant we'd mistook for a waiter, Dee bought ice-cream for three child-beggars and we took a gentle stroll through the slowly-closing souk, returning to the hostel.

It was generally quiet and the terrace being closed already signalled an earlier night than yesterday.

Lessons learned:
  • Food is cheap when you avoid the casbah (where a tagine will cost you a lot)...
  • … and eat where you see Moroccans eating.
  • Cats will enjoy harassing you whilst you eat in any country.

Monday, March 06, 2017

Københavnske Dagbog: Min Identitet På Tværs @ Støberiet

A Danish-Somali woman in a 2017 reimagining of a 1975 photo by Manna Tarah.
Shortly after lunch on Friday 17th February, I headed over to the rather hipster Hackney-esque Papirøen, or ‘Paper Island’, for a coffee and chat with Pernille, a fellow lover of East Africa.

As is often top of the agenda these days in Europe, we discussed migration and the question being raised by one political party about what constitutes Danish values. It is interesting as it seemed to mirror similar discourse about British values that had arisen pre- and post-Brexit in the UK.

When the conversation moved on to discuss the diversity of my students in the UK, Pernille recalled a small photography exhibition that had just opened at Støberiet in Nørrebro, just down the road from what is affectionately called ‘Little Somalia’ and on my way to my friends’ apartment.

The title of the exhibition, Min Identitet På Tværs, roughly translates as ‘My Identity Across’ and implies a potential tension, or distance, between divergent aspects of young Danish-Somalis’ cultures.

According to the website, the curators, Manna Tarah and Hibaq M. Ahmed, put the exhibition together to ask questions of: whether a cultural heritage can be maintained in the ever-changing cultural community; and can the new and old cultures really coexist?

Not realising that by being half-term in Denmark the exhibition would be closed, I was fortunate that one of the librarians in the bibliotek downstairs unlocked the gallery and switched the lights on, leaving me to look about at my leisure.

The pictures on display recontextualise and reimagine vintage Somali pictures from the 60s, 70s and 80s, and place them into a modern, predominantly urban, Danish context. The idea behind this was “to form a visual bridge between Somalis across generations and continents, across borders and time.”

A particular favourite denoted a young Danish-Somali woman in a reimagining of a 1975 photo of the model Iman Abdulmajid. It was taken by Manna Tarah in 2017 Copenhagen and, despite the obvious difference in appearances between the two subjects, it helped, if not to answer the question about how a cultural heritage is maintained in a different context, but at least to indicate that being at once Danish and Somali shouldn’t be seen as diminishing the cultural heritage of either nation.

Although small, the notion of diverse cultures being explored within the self is an interesting facet of migrant often overlooked by many quarters and it would be nice to see more similar projects in West London too.

Min Identitet På Tværs is at Støberiet until 15th March 2017. More information can be found at https://kulturn.kk.dk/event/fernisering-min-identitet-paa-tvaers.

Saturday, February 25, 2017

Atay Maghrebi: Eating Snails and Adam's Tale from the Sahara

The sun setting behind distant palms, seen from the roof of Equity Point.
As the maghrib prayer was called, a small group of us were left watching the dust-blown orange sun setting and, as ever, it put on quite a show as it lowered itself below the tops of three palms in the middle distance.

The multitudinous adhans started as, one by one, the muezzins called "Allahu akbar… hayya'alas-salāh" in a rippling effect that hums across the massiveness of the sky over the hostel’s roof terrace. 

Save for the soft fizzing sound as hot atay hit the cube of sugar at the bottom of my glass, we were left silenced.


As with the previous day, there is a rolling cast of bit part players coming and going within the hostel.

Shortly after maghrib, I had wandered to the Jemaa el-Fnaa. Encouraged by my stolen guidebook, I had decided to brave one apparent local delicacy - snails!

The snails are sold at small stalls in the centre of the market place, slightly away from the larger food stalls in the middle and adjacent to a line of orange juice sellers. The proprietors all stand in the middle with monstrously large silver pans filled with small brown shells and a steaming light brown broth. All around the edges of the stall are seats for diners to sit and dine from.

Conscious that I was the centre of attention as I paid my 10dh for a small bowl full of the creatures, I just copied the actions of the nearest Moroccan man I could see. One by one, using a small toothpick, I plucked out only the meatiest part of the snail and left the slimier looking part well alone.

A few American tourists came over to look at the snails as the seller shuffled the snails around in the pan to a chorus of clattering shells. Needless to say, they gave a wry smile and headed off to the nearest café selling burgers.

It's difficult for something that looks like this to be appetising.
I wandered back through a quieter part of the souk to find the young American couple rummaging around in the dorm room in a bit of a panic - at this point, I should point out that neither were American; she was Canadian and he was German.

During the night, she had been bitten to hell and back by bedbugs, apparently a regular occurrence for those who have been out in the desert trekking for a few days.

This seemed to get her German boyfriend flustered, but no one else in the room had been affected. The one thing we did have to do was to package up all of our clothes and any belongings made of fibres and hand them to reception to be tumble-dried. 

Grouchy Frenchman seemed unmoved – I guess if you're already annoyed by everything life has to throw at you, it can't really get much worse.

When Grouchy and me arrived in reception, both of us knowingly avoiding any smalltalk, the two female members of staff started to have a giggle about the situation. After a couple of moments, their infectious laughter, and gentle mockery of the both of us, finally raised a smile on the face of Grouchy. It seemed the ice-man was melting.

Both Grouchy and I were moved to a new room, as the young couple showered us with apologies.


A short while later, and back on the roof terrace, Adam, a young German photojournalist with wavy locks of dark hair, a stylish beard and an enthusiastic tone to match, started to tell us about his current project. 

As part of a project that he was organising alone, he had been travelling to the Western Sahara, a disputed territory that is split between Morocco's Southern Provinces and the Sahrawi Arab Democratic Republic's (SADR) area called the Free Zone by their Polisario Front military group. Following the Spanish withdrawal from the territory in the 1970s and a conflict with neighbouring Mauritania, Morocco has had control of the area, having claimed the territory formally in 1957. The dispute continues to affect some political relations with neighbouring countries to this day.

Adam told us that he had travelled to Laayoune, the capital of the Moroccan-controlled Southern Provinces, and had started by photographing pro-SADR/Polisario grafitti. He claimed that often, within hours, any such graffiti was being painted over.

He had then crossed deep into the SADR-held territory and visited some of the camps there. These had been a massive contrast to the clean streets of Laayoune and he spent his time photographing the rebel Polisario forces parading, whilst trying to document ordinary life of the Sahara with people there.

He told a story of how, during one evening when someone realised that there was Champions League match involving Barcelona, loads of them had piled into one shack to watch it. Part way through the match, the battery had run out on the television and the room emptied as a new one was harvested from someone’s car. Football truly does come first all over the world.

After a couple of days, even though he had all of the requisite permissions from the Moroccan government, and the Polisario Front, the authorities didn't take long to suspect he might be in someway doing something rogue. Within 24 hours of arriving in another small town – which based on the details he gave us must be Guelta Zemmur – officials arrived demanding his passport from his hosts. 

What unfolded, and I have little reason to doubt his story whatsoever, sounded like a scene from a Jason Bourne movie. Kay, a young Australian girl, Dee, a Swiss woman of around my age, and myself sat enthralled.

His hosts, naturally, had denied that he was in the building and this had given him time to slip out of the house. They had been making progress away from the area when a police roadblock a few kilometres  later appeared out of the dust and paramilitary police had emerged from the vehicles with their weapons pointed.

He got taken the 600km to the nearest airport and was told to leave immediately for Casablanca on the next flight.

He told the whole story in much more detail and as if it was something that had happened years ago, but, it had literally happened just the day before.

Eventually, one of the giggling receptionists told us that we had to leave the roof terrace; the time having flown by, so we headed to a seating area. Adam, as if to prove that what he told us wasn’t a lie, showed us some of the images of Sahrawi graffiti, phosphorus production and Polisario troops parading that he’d taken before his deportation.

By the morning Adam had disappeared, possibly to try and get back to where he could continue his project, or maybe back to the relative calm of his home in Germany.

Lessons Learned
  • Bed bugs don't like tumble-dryers. 
  • The texture of snails, however tasty the soup, is basically how you would expect it to be.
  • I really need to own a roof terrace in the medina of Marrakech.
Note: The dispute over Western Sahara is a complex one and one that I personally only know a little about. The story was told to me by a fellow traveller whose name has been changed in this story. It is his subjective account on events and in no way is to be taken as representative of an objective account of the conflict, the Southern Provinces of Morocco, or the SADC/Free Zone under Polisario control.

Thursday, February 16, 2017

Københavnske Dagbog: The Colours of Djibouti @ Davids Samling

Djibouti 12 by Peter Bonnén displayed at Davids Samling's Collection.
When I arrived at the Copenhagen Backpackers Hostel, one of the first things that caught my eye was a leaflet for an exhibition called Djiboutis Farver or The Colours of Djibouti in English. The picture on the front was of a wall with a small window cut into it, the bottom half a dirty salmon and the top a washed out baby blue.

The name of the venue, and the leaflet, had slipped out of my mind until my friend Signe said over lunch, “I really want to visit the Islamic art museum.”

I asked her where it was and what it was called, looking for a chance to build on my exploration of Essaouira’s Museum in the summer. She made a noise that sounded a bit like, “dad’s salmon.” Then she spelled it out and it was the same place that I had been looking at the leaflet for.


After chasing the changing of guards around town for a bit and having a coffee in the Grønlands Repræsentation, I wandered towards the innocuous entrance to the Davids Samling Collection, opposite the Kongens Have or King’s Garden. 

Downstairs there is a collection of European artwork, but I bypassed this to see the Peter Bonnén exhibition first.

The photography centres on what is essentially something very ordinary; the painted walls and doors of houses and commercial buildings in Djibouti, a small country in northeast Africa with colonial ties to France and cultural ties to its neighbours, Somalia and Ethiopia.

What makes his works interesting is encapsulated in the photographer's introduction to the gallery. Bonnén states that when he used to attempt to paint in his younger years, he found his works becoming more and more monochrome. Even today he says, “I am not that good at colours.”

When Bonnén visited Djibouti, with its mass of foreign soldiers to combat piracy and the chaos of the market when a delivery of khat from Ethiopia arrives, he “found the colours and the colour combinations that [he] had always sought.”

Indeed, what his photographs are representative of are something quite idiosyncratic and document how “the colours of the houses and doors everywhere [he] looked were so surrealistic that they sang.” This was a perfect explanation for the collection, and especially for my personal favourite Djibouti 12.

Having taken the time to absorb the colours of every single image I saw, I walked upstairs to where the another, permanent treasure trove lay in wait. 

The Djiboutis Farver exhibition is at the Davids Samling Collection until 16th April 2017. More information can be found at https://www.davidmus.dk/en/.
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