DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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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]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
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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