Director: John Akomfrah
Cast: Pervaiz Khan, Meera Syal, Yvonne Weekes
UK, 1986, 58', HDD, color
English with Turkish subtitles
A film essay on race and civil disorder in 1980s Britain and the inner city riots of 1985, Handsworth Songs takes as its point of departure the civil disturbances of September and October 1985 in the Birmingham district of Handsworth and in the urban centres of London. Running throughout the film is the idea that the riots were the outcome of a protracted suppression by British society of black presence. The film portrays civil disorder as an opening onto a secret history of dissatisfaction that is connected to the national drama of industrial decline.
The ‘Songs’ of the title do not reference musicality but instead invoke the idea of documentary as a poetic montage of associations familiar from the British documentary cinema of John Grierson and Humphrey Jennings. Handsworth Songs won Britain’s most prestigious award for documentaries, the British Film Institute Grierson Award Best Documentary in 1986.
Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
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