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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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit