MARY CONWAY is disappointed by a three-hander that broaches big themes, but doesn’t transcend dry academia
Sona Jobarteh, Kings Place London
Sona Jobarteh demonstrates why she's one of the most exciting kora players around
Kora queen: Sona Jobarteh
[Schorle/Creative Commons]
DAN GLAZEBROOK eavesdrops on the bourgeois intelligentsia and the stories it tells itself at this moment of crisis
JAN WOOLF is bowled over by a major retrospective for the YBA artist
LEO BOIX, ANGUS REID and MARIA DUARTE review Night Stage, Two Women, Kim Novak’s Vertigo, and Fuze
KATHRYN JOHNSON recommends the work of Norman Kaplan that was a tool in the struggle against apartheid in South Africa
GAVIN O’TOOLE welcomes a bold feminist subversion of classic folktales that are ubiquitous in the Irish imagination
BEAUTIFULLY poised, strikingly good-looking and quietly charismatic, Sona Jobarteh is guaranteed to hold the attention of any audience with her superbly dextrous kora playing.
Born and raised in London but from a Gambian clan on her father’s side that has boasted a number of kora virtuosos, she’s the first woman ever to make a living out of playing the instrument. For seven centuries, it has been a male-only preserve within West African griot families such as her own.
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