Latin summer

Four recommendations from an array of Latin American dance, music and culture on its way to the UK.

Over the next two months, Britain will play host to a variety of Latin American performers. Ballet dancers, platinum selling artists and Lucha Libre stars will jet over the Atlantic for your entertainment, most of them for one night only. Performers from all over the continent are set to play in London and elsewhere - the summer of 2011, it would seem, is a Latin one.

Things culminate with the annual Carnival del Pueblo in Burgess Park, south London, in August, as well as the CASA Latin American Theatre Festival in October.

To make things easier, here are four artists that come highly recommended:

Juan Luis Guerra

The giant of Latin American music is yet to appear in the UK. Despite selling thirty million albums worldwide, winning two Grammy awards and fifteen Latin Grammys for good measure, this week's performance will be Juan Luis Guerra's first in London.

The Dominican giant's sound is a product of his birthplace and he only ever composes songs himself. Initially using the rhythms of merengue and bachata, he struck out in all directions folding in salsa, son, Latin pop and even recording mash ups with African artists like Congo's Diblo. The artist himself describes his music as 'full of energy [...] romantic, danceable and made for reflection'.

When we spoke to Juan Luis Guerra he raved about his debut in the country of the Beatles and the Rolling Stones. As well as playing to an English crowd for the first time in his twenty-five year long career, he is looking forward to having a pint of ale in a proper English pub, followed by a session in Abbey Road studios.

Asked whether he was concerned about the British and their two left feet, he replied that the 'Latin Americans in the audience will take care of them', and that even in Japan last year he found an unlikely community of bachata aficionados (so much so that he wrote a song about it ).

Como No will be hosting Juan Luis Guerra y 4.40 on Wednesday 22 June at the HMV Hammersmith Apollo. Tickets can be bought from the HMV call centre, on 0843 221 0100. They are also available from Ticketmaster twenty-four hour Ticketline, on 08448 44 47 48. Visit www.ticketmaster.co.uk for further details. Doors 6.45pm

Carlos Acosta

Carlos Acosta is one of the most recognized Latin Americans in London. Haling from Cuba, he won a string of international awards before he joined the Royal Ballet in 1998 and became a Principal in 2003.

The rags to leotard story goes that Acosta was a young rebel who danced to Michael Jackson on the streets of La Habana. Then, at thirteen, he saw a Cuban Ballet performance that would focus in his mind his future profession.

Nowadays he is known for being able to pull of that leap, and for choreographing increasingly biographical work. This year's offering, Premieres Plus, features new creations and collaborations with renowned international dancers and musicians. The pieces have been devised by Acosta, combining his classical training with more contemporary styles.

It has been reworked from the 2010 project of the same name and will be performed in three separate venues. Collaborating with dancers from Rambert Dance Company, Ballet Boyz graduates and an overwhelming number of other international movers, this is one not to be missed.

Carlos Acosta will be performing at the London Coliseum from 27 - 30 July. He will be at The Lowry, Salford Quays, Manchester, on 24 and 25 July and Birmingham Hippodrome from 18-20 August.

Calle 13

Calle 13 is much more than just a band. They are poets, satirists, political activists even, whose unique sound has far surpassed the reggaetón scene they were associated with in the past. They combine Latin American folk music, Afro-beat, ska, polka, salsa with blunt political messages that have earned them the reputation of being some of the most innovative music makers going.

The group is made up of the fraternal Calle 13 ('kai-yay tray-say'), René Pérez Joglar (Residente), and Eduardo José Cabra Martínez (Visitante). The trio's music is a call to action: a torrent of passionate rants about anger, political disillusionment, and international inequality. That said, the obnoxious base line and beats behind each song means that for every crowd there is a floor-filler, whatever their musical bent.

Calle 13 is renowned for giving infectious, raucous concerts, captivating audiences with the range and quality of their music. With an eleven-piece band behind them, this promises to be a powerful, witty and memorable show.

Calle 13 will be hosted by Como No in association with the Barbican, and will be performing at the Hackney Empire on Saturday 8 July 2011. Tickets can be bought from the Box Office 0845 120 7550 www.barbican.org.uk/blaze. Doors 8pm - 2am.

Lucha Future

Recent comments from BBC TV's Top Gear presenters regarding Mexico and its people have been responded to by the stars of Mexico's finest, Lucha Future. The legendary Queen of the Ring, Cassandro, has challenged Clarkson, Hammond and May to a bout in the ring at London's Roundhouse, "If they want to know what Mexico is really like, I'll let them know in five minutes flat".

Lucha Future will see luchadores like Blue Demon Jr., El Paso's lip-locking Cassandro and the acrobatic Magno run, fly and muscle their way across a London ring this week.

Bursting with heroism and villainy, the masked athletes clad in leotards and latex will be putting the hurt on each other, with feats of agility (and slapstick) that the perma-mulleted WWF fights of the past could not even hope to emulate.

To add yet more spice to the mix live music will be served up courtesy of Tijuana's Bostich & Fussible (Nortec Collective) and their Mexican gumbo of Norteño, electronica and techno.

Lucha Future will be on at the Roundhouse, Camden from Friday 24 June - Sunday 26 June. They will also be at The Sage, Gateshead, on 28 June, and Brighton Dome on 2 July.

Mark Maughan writes for Candela magazine

JOHN OGILBY/PRIVATE COLLECTION/BRIDGEMAN IMAGES
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Why did Britain's first road atlas take you to Aberystwyth?

Alan Ereira's new The Nine Lives of John Ogilby tells the story of a remarkable book – and its remarkable creator.

John Ogilby was a talented dancer with a bright future. Performing at White Hall Palace in February 1619, the 18-year-old leapt higher than ever to impress the watching James I and his queen. But then, crashing to the floor with a torn ligament, Ogilby never danced again. It was one of many misfortunes he overcame in a remarkable life. He went on to become a theatrical impresario, the deputy master of the revels in Ireland, a poet, a translator and a publisher of ancient classics. He even organised the public celebration of Charles II’s coronation. He was also an accomplished soldier, sailor and spy, as Alan Ereira reveals in this entertaining account of his “lives” and times.

It was a remarkable collection of lives for a man born in Scotland in 1600 and raised in poverty, the illegitimate son of an aristocrat. Yet Ogilby’s greatest achievement was to put Britain on the map when he was appointed “His Majesty’s Cosmographer and Geographick Printer” in 1674. His Britannia is the first detailed road atlas ever made. It opens with a map of England and Wales showing, he wrote, “all the principal roads actually measured and delineated”. It contains a hundred or so beautifully engraved plans of roads as winding ribbons sliced into sections. Rivers, forests, villages and bridges are included as landmarks.

Embracing the new science of measurement and experiment championed by the Royal Society, Ogilby’s surveyors used a wheel with a circumference of 16ft 6in and a handle that allowed it to be pushed along, as well as a clock face that recorded journey distances. With no universally agreed length of a mile, Ogilby chose 1,760 yards. Britannia led to the accurate measurement of almost 27,000 miles of tracks, paths and roads, though only about 7,500 are depicted in the atlas at one inch to the mile.

Britannia was published in September 1675. There were few who could afford it, at £5 (roughly £750 in today’s money), and it was too heavy to carry. Instead, travellers found their way around the country by following printed itineraries, with lists of the towns to pass through on any particular journey.

Britannia is not, as Ereira explains, an atlas of commercially useful roads of the day. The first journey is an odd one, from London to Aberystwyth, then a town of fewer than 100 houses and a ruined castle. Some of the roads chosen were no longer in use, while important routes such as those to Liverpool and Sheffield were left out.

But the choice of roads in Britannia begins to make sense as being those necessary for the royal mastery of the kingdom. The London to Aberystwyth road led to mines nearby. In the days of Charles I those mines contained lead and silver that helped the king pay his soldiers during the civil war. Britannia was a handbook, Ereira explains, for a conspiracy leading to a new kingdom under a Catholic king.

Ever since the start of the Reformation, Europe had been rumbling towards a religious war. When it came on the mainland it lasted 30 years and left millions dead. The subsequent Peace of Westphalia led to a new map of Europe, one of countries and defined frontiers instead of feudal territories with unclear borders and independent cities. England was not included in the peace but shared in its vision of separate sovereignty. This led to different results in different places. In France, the king became an all-powerful despot; in England it was the ruler who lost power as parliament emerged triumphant.

In 1670 Charles I’s son Charles II decided to throw off the restraints he had accepted as the price of his restored monarchy. He wanted to be the absolute master in his land. To achieve this, he entered into a secret treaty with the French king Louis XIV. Charles needed money, an army, allies to execute his plan, and detailed knowledge of the kingdom; Louis was willing to bankroll the venture as long as Charles converted to Catholicism. Britannia was a vital part of Charles’s strategy to assert military control: he would use it to help land and deploy the 6,000 French troops that Louis had promised him to assist his forces. The pact remained a well-kept secret for nearly a century, even though it soon fell apart when the French and British got bogged down in a war with the Dutch.

No matter. Ogilby died in September 1676 and in 1681 Charles II dissolved parliament for the last time during his reign. “Britannia provided an extraordinary grasp over the business and administration of the 399 communities that it identified in England and Wales, and the crown took a grip on them all,” Ereira writes.

In this way, the atlas played a significant part in enabling the king’s revenue to grow by one-third within a few years. No longer needing financial help from Louis, Charles ruled by divine right, exercising absolute power until his death in 1685. The lesson of Britannia was that whoever controls the map controls the world.

Manjit Kumar is the author of “Quantum: Einstein, Bohr and the Great Debate about the Nature of Reality” (Icon)

This article first appeared in the 12 January 2017 issue of the New Statesman, Putin's revenge