Out of Essex

London Gypsy Orchestra builds cultural bridges in wake of Dale Farm evictions.

Basildon District Council has been heavily criticised for its plans to evict Britain's largest Traveller community at Dale Farm in Crays Hill, Essex. The Council has been accused of "bowing down to local prejudice" against the Traveller community, which maintains that the decision to deny their planning consent has very little to do with preserving the "green belt" land that half the community resides upon. The fact remains that 90 per cent of planning applications from Travellers and Gypsies are refused by councils in the UK, which when compared with the 20 per cent of applications refused to all non-Traveller applicants from July to September 2010, indicates some level of discrimination.

Relations between Traveller communities and politicians have soured since the Coalition took control of government. In response to a question from a Tory MP representing constituents trying to close the Gypsy site, David Cameron stated: "I know he speaks for many people about this sense of unfairness that there is one law that applies to everybody else and, on too many occasions, another law that applies to Travellers."

Whether or not you agree with his sentiment, one thing remains certain: the future for Traveller communities looks bleak under the Coalition. Despite the difficulties faced by these communities, there exist grassroots efforts to improve relations between settled and Roma Gypsy communities. The London Gypsy Orchestra (LGO), founded in 2005, and directed by virtuoso violinist Gundula Gruen, has been running an ongoing celebration of Roma Gypsy culture in its Gypsy Exchange project in an effort to promote the richness of Roma Gypsy culture to the settled community.

The project, funded by Awards for All and facilitated by the director of the orchestra and members of the Czureja family, comprises of a series of music, dance and costume making workshops inspired by Romany culture. Participants have learned about many aspects of Gypsy life and culture directly from members of the Roma community themselves.

The 45-piece London Gypsy Orchestra performs original arrangements of traditional folk and Gypsy music from Eastern Europe and the Balkans. It is, to date, the biggest ensemble of its kind in Western Europe.

The Romany Diamonds are a traditional Gypsy family band of musicians and dancers started by Ricardo Marek Czureja and his son Benjamin who came to England from Poland thirty years ago. They perform traditional Romany music, ranging from traditional songs to original compositions. The prodigious combination of Ricardo's virtuoso violin and Benjamin's Reinhardtesque guitar combine to exceed belief, and certainly makes for fantastic entertainment.

"Our project has been both very enjoyable and challenging, and has ultimately generated tools to hopefully help overcome discrimination and prejudices, mistrust and ignorance by building bridges and working together" says Gruen.

The finale of the project is open to all and will take place at Notting Hill Arts Club on Sunday 17 April 2011, from 6.30pm. It will include staged music, dance performances, interactive jam sessions, and ceilidh. An open-mic platform will be available for any member of the community to share a performance from their own culture.

Tickets are available on the door or online, £8/6

Picture: YouTube
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Why is “Despacito” so popular?

An investigation.

It’s the first (mostly) Spanish language song to nab the Billboard Hot 100 top spot since 1996’s “Macarena”. It’s topped the charts in 45 different countries, from Austria to Japan to Uruguay. Its (quite rubbish) video has garnered almost three billion views on YouTube. A video of a young girl dancing to it in public places has more than 69 million views. It’s been covered on the harpsichord. It’s even been discussed on Radio 4. And it’s now the most streamed song of all time with nearly five billion plays. First released back in January, Luis Fonsi and Daddy Yankee’s “Despacito” is indisputably the song of the summer.

Why?

When last year’s song of the summer, Drake’s One Dance, broke Spotify streaming records, critics observed that the record's combination of a superstar rapper and the “globalised” sound of the record, with its Nineties British pop, Afrobeat and Jamaican dancehall influences, attracted “an audience outside rap’s core demographics”.

“Despacito” has some of the same key elements. The song’s combination of styles (traditional guitar, reggaeton – itself a mix of Latin, Caribbean and mainstream pop – influences, rap verses, and catchy melody) and Spanish lyrics give it that “globalised” sound. Puerto Ricans Luis Fonsi and Daddy Yankee are already some of the most famous Latin stars in the world, while Justin Bieber’s appearance on the remix in May lent the song the level of mainstream popularity only a truly super-famous global artist can bring. (“Despacito” has also been helped by some bad press: Bieber fudging the Spanish lyrics on tour.)

But, in another sense, “Despacito” has a number of elements that work against it. “One Dance”, was noted as having a “vagueness” that is “perfectly suited to listening on repeat in the background” and “sits at the heart of a listening-activity Venn diagram”, as it “works for jogging, for driving, and at any point on a night out”. But “Despacito” is full of has heavy beats, vocals high in the mix, rapid and verbose lyrics, intricate guitar strumming, and even different but overlapping melodies.

Basically, it’s distracting. So distracting that more than 285,000 people shared a video of a girl dropping everything in the supermarket, restaurant and street to dance to it.

Instead, it has more in common with 2015’s song of the summer OMI’s “Cheerleader”. First released in May 2014, it was given a more globalised remix for international palates by German DJ  Felix Jaehn. After that, it was massive hit in Jamaica, streaming trends saw it become popular in Swedish markets (thanks, Spotify) spreading to European territories, until Simon Cowell snapped up the song for a UK release. As it peaked in the UK, it started to take over the US charts, too.

“Despacito” follows suit as a global earworm that is inherently danceable, one that makes you think of sun, sand, sweat and sex, even while you bore yourself to death on your Windows PC in an airless grey office in Farringdon.

Oh, and did I mention? It’s really, really catchy.

Anna Leszkiewicz is a pop culture writer at the New Statesman.