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

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I worked as a teacher – so I can tell you how regressive grammar schools are

The grammars and "comprehensives" of Kent make for an unequal system. So why does Theresa May consider the county a model for the future?

In 1959 my parents moved me from a Roman Catholic primary school to the junior branch of King Henry VIII, Coventry’s most high-profile grammar. The head teacher berated my mother for betraying the one true faith, but although she was born in Galway, my mum was as relaxed about her religion as she was about her native roots. Any strong feelings about the English Reformation had disappeared around the same time as her Irish accent. Her voice gave no clue to where she was from and – as a result of a wartime commission – the same was true of my father. Together, Mrs and Mr Smith embodied postwar Britain’s first-generation upwardly mobile middle class.

Their aspiration and ambition were so strong that my mother saw no problem in paying for me to attend a Protestant school. Why, you may ask, did my dad, a middle manager and by no means well off, agree to pay the fees? Quite simply, my parents were keen that I pass the eleven-plus.

King Henry VIII School benefited from the direct grant scheme, introduced after the Education Act 1944. In Coventry, the two direct grant schools were centuries old and were paid a fee by the government to educate the fifth or so of boys who passed the eleven-plus. When secondary education in Coventry became comprehensive in the mid-1970s, King Henry VIII went fully independent; today, it charges fees of more than £10,000 per year.

A few years ago, I returned to my old school for a memorial service. As I left, I saw a small group of smartly dressed men in their late seventies. They had strong Coventry accents and intended to “go down the club” after the service. It occurred to me that they represented the small number of working-class lads who, in the years immediately after the Second World War, were lucky enough to pass the eleven-plus and (no doubt with their parents making huge sacrifices) attend “the grammar”. But by the time I moved up to King Henry VIII’s senior school in 1963 there appeared to be no one in my A-stream class from a working-class background.

From the early 1950s, many of the newly affluent middle classes used their financial power to give their children an advantage in terms of selection. My parents paid for a privileged education that placed top importance on preparation for the eleven-plus. In my class, only one boy failed the life-determining test. Today, no less than 13 per cent of entrants to the 163 grammar schools still in the state system are privately educated. No wonder preparatory schools have responded enthusiastically to Theresa May’s plans to reverse the educational orthodoxy of the past five decades.

Nowhere has the rebranding of secondary moderns as “comprehensives” been more shameless than in Kent, where the Conservative-controlled council has zealously protected educational selection. Each secondary modern in east Kent, where I taught in the 1970s, has since been named and renamed in a fruitless attempt to convince students that failing to secure a place at grammar school makes no difference to their educational experience and prospects. That is a hard message to sell to the two-thirds of ten-year-olds who fail the Kent test.

Investment and academy status have transformed the teaching environment, which a generation ago was disgraceful (I recall the lower school of a secondary modern in Canterbury as almost literally Edwardian). Ofsted inspections confirm that teachers in non-grammar schools do an amazing job, against all the odds. Nevertheless, selection reinforces social deprivation and limited aspiration in the poorest parts of the south-east of England, notably Thanet and the north Kent coastline.

A third of children in Thanet live in poverty. According to local sources (including a cross-party report of Kent councillors in 2014), disadvantaged children make up less than 9 per cent of pupils in grammar schools but 30 per cent at secondary moderns. University admissions tutors confirm the low number of applications from areas such as Thanet relative to the UK average. Though many of Kent’s secondary moderns exceed expectations, the county has the most underperforming schools in the UK.

When I began my teaching career, I was appallingly ignorant of the harsh realities of a secondary education for children who are told at the age of 11 that they are failures. Spending the years from seven to 17 at King Henry VIII School had cocooned me. More than 40 years later, I can see how little has changed in Kent – and yet, perversely, the Prime Minister perceives the county’s education system as a model for the future.

This article first appeared in the 22 September 2016 issue of the New Statesman, The New Times