MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Scotland the black
JOE JACKSON explores how growing up black amid ‘the quiet racism of Scotland’ shaped the art and politics of Maud Sulter
CLAIMING HER PLACE: (L) Maud Sulter, Self-portrait, 2001-2, detail; (R) Maud Sulter: Syrcas. Hélas l’héroine Quelques instants plus tard, Monique cherchait sa brosse à cheveux, 1993
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
Maud Sulter – You are my kindred spirit
Tramway, Glasgow
SHE was one of the first chroniclers of the modern experience of being black in Scotland. The daughter of a Scottish mother and Ghanaian father growing up in 1960s and 1970s Glasgow, Maud Sulter experienced first-hand the racism of the period. That experience strongly registered in her art, writing, poetry and photography, informing her lifelong commitment to anti-colonial politics and the amplification of black voices – particularly women – marginalised or forgotten by history.
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