The bard gives us advance notice of his upcoming medieval K-pop releases
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Clown jewels
LYNNE WALSH relishes a sweetly anarchic hour of dance and acrobatics, underscored by a big theme
DANCE ME: Jo Fong and George Orange in The Rest of Our Lives
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
The Rest of our Lives
Battersea Arts Centre
BATTERSEA Arts Centre now bills itself as “a home for the extraordinary,” and this effervescent, melancholy, skilful show is exactly the right stuff.
Self-identifying as an old dancer and an old clown, Jo Fong and George Orange create a sweetly anarchic hour or so, with dance, acrobatics, and the best playlist of dance songs outside a wedding in the Welsh Valleys.
Fong is as earnest as a new primary schoolteacher, and just as anxious, with Orange as her lugubrious and long-suffering foil.
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This year’s Bristol Radical History Festival focused on the persistent threats of racism, xenophobia and, of course, our radical collective resistance to it across Ireland and Britain, reports LYNNE WALSH
LYNNE WALSH previews the Bristol Radical History Conference this weekend
With most of recorded history dominated by the voices of men, LYNNE WALSH encourages sisters to read the memoirs of women – and to write their own too
LYNNE WALSH attempts to unravel the latest advice from local authorities on tackling violence against women and girls
