London Film Festival preview: The Nine Muses

John Akomfrah dazzles with a poetic tale of wandering lives.

What happens when you introduce a note of primary colour into a landscape that's largely white and grey? This is the question that The Nine Muses addresses, and not just visually. The latest work by John Akomfrah, the film is a dense, extended "tone poem", a siren's song of migration, memory, alienation and working life in Britain.

A feature-length version of the installation Mnemosyne, which premiered in January at the Public gallery in West Bromwich followed by a run at the NFT, The Nine Muses is superbly edited by Miikka Leskinen and featured in the Orizzonti prize section of this year's Venice Film Festival. Further screenings are planned everywhere from Sundance to Berlin, and it's running in the current London Film Festival.

The film focuses closely on experiences of immigrants from Africa, Asia and the Caribbean to the UK, but is also the story of other migrants and migrations: Irish, Maltese, ancient Greek. Akomfrah, who moved from Ghana to Britain in the 1960s, weaves a tapestry from painstaking research on hundreds of hours of archive footage dating back to between 1952 and 1981. And then there are those haunting landscapes – the ice-covered wastes of Alaska – in which colour confronts colourlessness. The frigid expanses recall a sensation the director has spoken about: the sense-memory of that first, shocking slap of the cold on arriving in England from a hot country.

The scenes are intercut with shots from today of the cultural historian Colin Prescod at dockside and industrial locations, many of them connected with slavery, the whole overlaid with a highly poetic soundtrack.

The fine selection of sound clips includes uncanny washes of crashing seas that travel from left ear to right, Winterreise, Dido and Aeneas, snatches of Indian pop music, a man talking in a rich patois about "love fram the heart", Stuart Hall recalling weeping, and choice readings from the Naxos AudioBooks list: Burton with "Under Milk Wood", Heathcote Williams with Inferno, Josette Simon with the Old Testament, Derek Jacobi with Milton, Dermot Crowley with Molloy, Michael Sheen with Oedipus, Alex Jennings with Nietzsche, Marcella Riordan with Ulysses and Finnegans Wake, Anton Lesser with the Iliad and the Odyssey.

The Nine Muses continues work Akomfrah began in 1982 by co-founding the Black Audio Film Collective with Reece Auguiste, Eddie George, Lina Gopaul, Avril Johnson and Trevor Mathison. Joined two years later by David Lawson, they built an unrivalled visual archive of black and Asian life in Britain, making their first significant public statement with the post-riots documentary Handsworth Songs in 1986. The group seeded such offshoots as the Shoreditch-based Iniva and this year's Turner Prize-nominated Otolith Group.

Yet the film deliberately misleads. Just when you think you've spotted a thread in the loose structure of sections named after the muses -- daughters of Zeus and Mnemosyne, repository of memory -- the story arcs back again and the tapestry unweaves itself. The section on Thalia, muse of comedy, opens playfully with shots of a huge crowd of children of all races, giggling, jostling and smiling in a playground in the Seventies. But it segues swifly into a snatch of Enoch delivering his doom-filled message of race hate and flows on to a huddle around an interview with a "respectable"-looking, white working-class man in the Fifties, who declares: "No, there's not enough room for all those niggers round here . . . I mean coloured people."

It's both a highly unusual, engaging work of history and a reflection on Britain here and now. The structures that made it possible seem a thing of the past; among the many production partners was the UK Film Council, now dead. And yet, on the morning of the film's British premiere, the Today programme played host to Eileen McCoy, a white, Catholic mother-of-ten, who blamed immigrant families for housing shortages, for placing the heaviest burden on the welfare state and for rising unemployment among "indigenous" workers in Scotland. There's not enough room: one-step forward, two-step back.

Akomfrah and the producers, Gopaul and Lawson, had privileged access to the BBC Regions archives, and have turned up remarkable images, in colour and in black and white, capturing snippets of life in the new England, especially in the Sixties and Seventies. There's the New Testament Church of God holding an open-air convention in Brum, circa late Sixties; Ugandan Asians arriving at Stansted in 1972; the sweat-beaded, cherubic face of a black worker at a foundry in a short, timeless shot. There's colour film of Asian men hauling cauldrons of molten iron in another inferno-like workshop; the Bull Ring on a wet day in the early Eighties; a Caribbean man with a sharp haircut wiping knives and forks at double-speed in a steam-filled kitchen; a young woman with her head bent over piles of laundry; a black girl sitting down to supper in the Sixties at a square table hard up against a big bed in a tiny bedsit with two women, both still in headscarves and coats, one of them lifting a pan of soup off a two-ring gas burner no more than five feet away.

An Asian woman teaches basic English to a packed room of women and girls from the subcontinent, holding up an object and asking, "Vat is dhis?" and they reply: "Dhe teacup." (Or perhaps "dirty cup"? Hard to tell.) And a tugboat packed with Caribbean immigrants sails down a canal: its name the Sir John Hawkins, after the buccaneering, 16th-century slave trade pioneer.

As ever more of us move to other countries seeking work, or safety, this film about the journeys that have made the world what it is today could not be more thought-provoking. You leave wanting to read much more of the poetry that suffuses it: how does "The Journey", by Tagore or by Emily Dickinson, compare with Li Po's "Hard is the Journey"? Or with T S Eliot? In the opening words of the film:

"A cold coming we had of it,
Just the worst time of the year
For a journey, and such a journey:
The ways deep and the weather sharp,
The very dead of winter."

The British premiere of "The Nine Muses" took place on 8 October; there are three further screenings in the London Film Festival:

Saturday 16 October (NFT1, 6.30pm)
Sunday 17 October (NFT Studio, 7pm; sold out)
Monday 18 October (Institute of Contemporary Arts, 6.45pm)

Nana Yaa Mensah is chief sub-editor of the New Statesman

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Let's seize our chance of a progressive alliance in Richmond - or we'll all be losers

Labour MPs have been brave to talk about standing aside. 

Earlier this week something quite remarkable happened. Three Labour MPs, from across the party’s political spectrum, came together to urge their party to consider not fielding a candidate in the Richmond Park by-election. In the face of a powerful central party machine, it was extremely brave of them to do what was, until very recently, almost unthinkable: suggest that people vote for a party that wasn’t their own.
Just after the piece from Lisa Nandy, Clive Lewis and Jonathan Reynolds was published, I headed down to the Richmond Park constituency to meet local Green members. It felt like a big moment – an opportunity to be part of something truly ground-breaking – and we had a healthy discussion about the options on the table. Rightly, the decision about whether to stand in elections is always down to local parties, and ultimately the sense from the local members present was that it would be difficult  not to field a candidate unless Labour did the same. Sadly, even as we spoke, the Labour party hierarchy was busily pouring cold water on the idea of working together to beat the Conservatives. The old politics dies hard - and it will not die unless and until all parties are prepared to balance local priorities with the bigger picture.
A pact of any kind would not simply be about some parties standing down or aside. It would be about us all, collectively, standing together and stepping forward in a united bid to be better than what is currently on offer. And it would be a chance to show that building trust now, not just banking it for the future, can cement a better deal for local residents. There could be reciprocal commitments for local elections, for example, creating further opportunities for progressive voices to come to the fore.
While we’ve been debating the merits of this progressive pact in public, the Conservatives and Ukip have, quietly, formed an alliance of their own around Zac Goldsmith. In this regressive alliance, the right is rallying around a candidate who voted to pull Britain out of Europe against the wishes of his constituency, a man who shocked many by running a divisive and nasty campaign to be mayor of London. There’s a sad irony in the fact it’s the voices of division that are proving so effective at advancing their shared goals, while proponents of co-operation cannot get off the starting line.
Leadership is as much about listening as anything else. What I heard on Wednesday was a local party that is passionate about talking to people and sharing what the Greens have to offer. They are proud members of our party for a reason – because they know we stand for something unique, and they have high hopes of winning local elections in the area.  No doubt the leaders of the other progressive parties are hearing the same.
Forming a progressive alliance would be the start of something big. At the core of any such agreement must be a commitment to electoral reform - and breaking open politics for good. No longer could parties choose to listen only to a handful of swing voters in key constituencies, to the exclusion of everyone else. Not many people enjoy talking about the voting system – for most, it’s boring – but as people increasingly clamour for more power in their hands, this could really have been a moment to seize.
Time is running out to select a genuine "unity" candidate through an open primary process. I admit that the most likely alternative - uniting behind a Liberal Democrat candidate in Richmond Park - doesn’t sit easily with me, especially after their role in the vindictive Coalition government.  But politics is about making difficult choices at the right moment, and this is one I wanted to actively explore, because the situation we’re in is just so dire. There is a difference between the Conservatives and the Lib Dems. Failing to realise that plays into the hands of Theresa May more than anyone else.
And, to be frank, I'm deeply worried. Just look at one very specific, very local issue and you’ll perhaps understand where I'm coming from. It’s the state of the NHS in Brighton and Hove – it’s a system that’s been so cut up by marketisation and so woefully underfunded that it’s at breaking point. Our hospital is in special measures, six GP surgeries have shut down and private firms have been operating ambulances without a license. Just imagine what that health service will look like in ten years, with a Conservative party still in charge after beating a divided left at another general election.
And then there is Brexit. We’re hurtling down a very dangerous road – which could see us out of the EU, with closed borders and an economy in tatters. It’s my belief that a vote for a non-Brexiteer in Richmond Park would be a hammer blow to Conservatives at a time when they’re trying to remould the country in their own image after a narrow win for the Leave side in the referendum.
The Green party will fight a passionate and organised campaign in Richmond Park – I was blown away by the commitment of members, and I know they’ll be hitting the ground running this weekend. On the ballot on 1 December there will only be one party saying no to new runways, rejecting nuclear weapons and nuclear power and proposing a radical overhaul of our politics and democracy. I’ll go to the constituency to campaign because we are a fundamentally unique party – saying things that others refuse to say – but I won’t pretend that I don’t wish we could have done things differently.

I believe that moments like this don’t come along very often – but they require the will of all parties involved to realise their potential. Ultimately, until other leaders of progressive parties face the electoral facts, we are all losers, no matter who wins in Richmond Park.


Caroline Lucas is the MP for Brighton Pavilion.