Indonesian Muslim girls play heavy metal rock

This video says about itself:

Heavy Metal Hijabis

25 July 2018

The town of Garut in Western Java, Indonesia is a quiet place—that is, until Voice of Baceprot takes the stage. While most people in the town live tranquil, pastoral lives, teenagers Firdda, Widia and Euis thrash out and rock hard. The band has shot to fame for playing heavy metal in the religiously conservative country. After gaining popularity, VoB began to face criticism for performing while wearing hijabs. Still, they continue to shred—an inspiration for everyone with a little bit of music and a little bit of hardcore rebellion in their souls.


English painter Annie Swynnerton exhibition

Mrs L Swynnerton, 1928, by Gwenny Griffiths, courtesy of Manchester Art Gallery

By Paul Mitchell and Margot Miller in England:

31 July 2018

Until the end of this year, the Manchester Art Gallery exhibition Painting Light and Hope is showing 36 paintings of forgotten Victorian artist Annie Louisa Swynnerton (1844-1933), a native of the city.

Painting Light and Hope is the first retrospective of Swynnerton’s work since before her death. Of the 39 paintings listed as in public collections, nearly half are held by Manchester Art Gallery and six are in London’s Tate. Single works can be found in a number of UK city collections and abroad in New York, Paris and Melbourne. Many more paintings are believed to be in private ownership, unknown or lost.

As the exhibition title suggests, Swynnerton was born into a time of struggle and also great expectations—a new era was opening up that promised an end to inequality and injustice encapsulated in her allegorical Sense of Sight (1895). …

Sense of Sight, 1895, courtesy of Walker Art Gallery Liverpool

Annie was born in 1844 in the working class district of Hulme in Manchester, the first of seven daughters to Ann and Francis Robinson, an attorney’s clerk.

Manchester was the motor of the Industrial Revolution and a city where fortunes could be made and lost. Francis Robinson suffered the latter fate. By the 1860s, he had risen to become a co-partner in a law firm which numbered the novelist Charles Dickens amongst its clients. The family moved to an eight-bedroom villa with two servants in a gated country estate, where the girls’ artistic talents were encouraged.

In 1869, calamity struck—Francis was declared bankrupt and the family home and contents were auctioned off. Two years later, Annie and her three sisters are recorded as living in two rooms in a terraced house back near Hulme, forced to support themselves.

Annie, whether because she was determined to be a professional artist or to develop the skills needed as a governess—one of the few ways women could maintain some sort of independence—attended the Manchester School of Art. There she won the top national scholarship and met her lifelong friend, Isabel Dacre.

In 1875, Annie, Isabel and others were finally allowed, after much petitioning, to join the Manchester Academy of Fine Arts, the main forum in which artists exhibited their work and from which women were excluded. However, the women remained subordinate, classified as “Lady Exhibitioners”—barred from holding office or attending life drawing classes so vital for artistic training.

The same attitude prevailed, nearly 50 years later in 1922, when Annie became the first woman to be elected to the Royal Academy, but only as an Associate member and being of an age (78) that disqualified her from office.

Another source says Laura Knight was the first woman ever to be elected to the Royal Academy. Yet another source says it was Laura Knight. Laura Knight became the first full member in 1936.

When the British Royal Academy of Arts was founded in 1769, Angelica Kaufmann, and Mary Moser, both of Swiss ancestry, were co-founders. After these two, this Academy admitted no women members until the twentieth century.

It is no wonder, that, as she looked back on her life, Annie declared, “I have had to struggle so hard.”

In the face of such prejudice, Annie and Isabel left for the more liberal art establishments in Rome and Paris to study, whilst pursuing greater freedom for women artists including founding the Manchester Society of Women Painters in 1880.

Annie’s sympathy with the working class and those who campaigned to do something about their situation is evidenced by the titles of some of her paintings, including The Factory Girl’s Tryst (1880), The Vagrant (1900s) and The Olive Gatherers (1889).

One of the first paintings in the exhibition is Reverend William Gaskell (1879), the social reformer and husband of the novelist and social critic Elizabeth Gaskell (1810-1865), whose daughters socialised with Annie. We are drawn towards Gaskell’s face, which Annie imbues with the feeling that this person has led a good and useful life.

Susan Isabel Dacre (A Mon Amie), 1880, courtesy of Manchester Art Gallery

More intimate is Susan Isabel Dacre (A Mon Amie) (1880)—a wonderfully tender and penetrating portrait that contrasts Isabel’s wistful face, full of light, with a totally black background, reminiscent of the chiaroscuro technique of Italian High Renaissance artists such as Caravaggio.

It is impossible, though, to pin Annie down to any particular movement or style in art. What is quite thrilling about the exhibition is that you can discover a talented artist experimenting with different styles, but also developing her own vision. All the works have in common an honesty and an optimism that reflects the age.

Some pieces show Annie’s engagement with the pre-Raphaelite movement, well known for its realistic style combined with mythological themes, such as the painting of nudes Cupid and Psyche (1890). The leading pre-Raphaelite artist Edward Burne-Jones declared of Annie, “I think most highly of her work—strong, powerful and beautiful in colour.”

Cupid and Psyche, 1890, courtesy of Gallery Oldham

With the support and friendship of Burne-Jones and other influential artists, Annie gained access to wealthy patrons and became well-known for her evocative portraits of their children, as in Geoffrey and Christopher Herringham (1889).

Geoffrey and Christopher Herringham, 1889, courtesy of Royal Holloway, University of London

At the same time, Annie brings nobility and beauty to her portraits of ordinary workers and peasants, as in An Italian Mother and Child (1886). In this painting, her earlier more subdued palette has given way to bolder colours and looser brushstrokes—the effect of working outdoors in the warmth and sun of Italy where she mostly lived after marrying the sculptor Joseph Swynnerton in 1883.
An Italian Mother and Child, 1886, courtesy of Manchester Art Gallery

Annie’s landscapes—”I was so entranced with the beauty of nature” she later wrote—became decidedly impressionistic and filled with light, as in the painting Capri (c. 1900s), which is a study of the “motion of water in the sunlight” and captures a backdrop of purple rocks lit up with a silver sheen. Houses huddled by the harbour in the island find their reflection caught in the water, more green than blue, all suggested by horizontal brushwork.

Capri c.1900s, courtesy of Private Collection on loan to Manchester Art Gallery

In the last room of the exhibition, the emphasis is on Annie’s involvement in the votes for women campaign—she signed the Declaration in Favour of Women’s Suffrage in 1889 and knew and painted the portraits of leading suffragists.

In pursuit of a feminist narrative, the catalogue is peppered with remarks such as that Annie “depicted realistic, unidealised female forms using layered and textured paint in her concern to portray real women’s bodies.”

Are her nudes realistic?

Oceanid, before 1908, courtesy of Bradford City Museums and Galleries

Oceanid, painted before 1908, is astonishingly sensuous. One shares the sensation of water running down the naked form of a sea nymph, and hears the waves lapping gently against her. Movement, translucency, light and bold colour envelop the robust figure enjoying a sea bathe. …

The nymph in fact conforms to the usual time-honoured portrayal of the ideal, perfect form. This, however, in no way diminishes the painting, which is a celebration of youth and beauty at one with nature. …

The most insightful assessment of the Annie Swynnertons of the Victorian world was made by the painter’s contemporary, Eleanor Marx, the daughter of the co-founder of scientific socialism, Karl Marx.

The authors of the article have abbreviated Eleanor Marx maybe too much. I have added additional quotations between [].

She described such middle-class layers as “earnest and thoughtful, who see that women are in a parlous state, and are anxious that something should be done to better their condition. These are the excellent and hard-working folk who agitate for that perfectly just aim, woman suffrage; for the repeal of the Contagious Diseases Act, a monstrosity begotten of male cowardice and brutality; for the higher education of women; for the opening to them of universities, the learned professions, and all callings, from that of teacher to that of bagman.

“In all this work—good as far as it goes—three things are especially notable. First, those concerned in it are of the well-to-do classes, as a rule. [With the single and only partial exception of the Contagious Diseases agitation, scarcely any of the women taking a prominent part in these various movements belong to the working class. We are prepared for the comment that something very like this may be said, as far as concerns England, of the larger movement that claims our special efforts. Certainly, Socialism is at present in this country little more than a literary movement. It has but a fringe of working men on its border. But we can answer to this criticism that in Germany this is not the case, and that even here Socialism is now beginning to extend among the workers.]”

Eleanor Marx

“The second point is that all these ideas of our advanced women are based either on property, or on sentimental or professional questions. Not one of them gets down through these to the bedrock of the economic basis, not only of each of these three, but of society itself. .… [We will support all women, not only those having property, enabled to vote; the Contagious Diseases Act repealed; every calling thrown open to both sexes. The actual position of women in respect to men would not be very vitally touched. … For not one of these things, save indirectly the Contagious Diseases Act, touches them in their sex relations. Nor should we deny that, with the gain of each or all of these points, the tremendous change that is to come would be more easy of attainment. But it is essential to keep in mind that ultimate change, only to come about when the yet more tremendous social change whose corollary it will be has taken place.”]

The third point, Eleanor Marx insists, is that without “larger social change women will never be free. … [N]o solution of the difficulties and problems that present themselves is really possible in the present condition of society. All that is done, heralded with no matter what flourish of trumpets, is palliative, not remedial. Both the oppressed classes, women and the immediate producers, must understand that their emancipation will come from themselves. Women will find allies in the better sort of men, as the labourers are finding allies among the philosophers, artists, and poets. But the one has nothing to hope from man as a whole, and the other has nothing to hope from the middle class as a whole.”

British Blairite Saudi-loving Erdogan-loving sex pest Woodcock runs away from inquiry

John Woodcock

This video shows British right-wing politician John Woodcock speaking at a meeting of the ‘Progress’ organisation, a conservative party within the Labour party.

By Ceren Sagir in Britain:

Wednesday, July 18, 2018

John Woodcock challenged to hold by-election after quitting Labour

JOHN WOODCOCK has been challenged by Labour to call a by-election after “abandoning” the party with a scornful attack on its leader Jeremy Corbyn.

Mr Woodcock quit Labour this morning and said he is prepared to vote with the Conservatives as an independent MP for Barrow and Furness “if required”.

The party pariah has been sitting as an independent since having the Labour whip withdrawn in April pending investigation of an allegation of sexual harassment towards to a former staff member between 2014 and 2016.

Mr Woodcock’s resignation means the Labour investigation cannot be concluded.

Labour’s Chris Williamson told the Morning Star that Mr Woodcock’s departure was “long overdue.”

He said: “He had clearly lost touch with his local members and was massively out of step.

“Not just with Labour supporters, but with the overwhelming majority of the British public, who have comprehensively turned their back on the discredited New Labour ideology to which Mr Woodcock continues to cling.”

Mr Woodcock continued with his attacks on Mr Corbyn in his resignation letter, claiming there was little chance of Labour being an “inclusive, mainstream electoral force.”

He has clashed with Mr Corbyn over his stance on nuclear weapons, military interventions in Syria

Kurdistan Solidarity Campaign co-secretary Rosa Gilbert welcomed his departure and said Mr Woodcock brought the party into disrepute though his “obsession with promoting the most despotic regimes and human rights abusers in the world.”

“It is simply astonishing that he claimed to uphold Labour values while going on junkets to buff up the tyrannical and genocidal Erdogan regime in Turkey, meeting with the fascist MHP party whose paramilitary group Grey Wolves murder Kurds with impunity, all paid for by a shady think tank with financial links to Isis oil sales”, she told the Star.

Mr Woodcock has previously defended Turkey’s military offensive against Afrin in Syria, which Ms Gilbert said was “sickening” and that he was “in no position to lecture on minority rights.”

This video, by USA Stand with Afrin, is called Turkish War Crimes in Afrin.

Unite the union general secretary Len McCluskey said Mr Woodcock’s resignation from the party was “no big deal.”

“He resigned from Labour’s values a long time ago”, he said.

Mr McCluskey had previously called out Mr Woodcock and other Corbyn critics of “working overtime trying to present the Labour Party as a morass of misogyny, anti-semitism and bullying.”

What a shame that this lover of dictatorships and of sexual harassment is called after these beautiful birds, real woodcocks.

This video shows a real Eurasian woodcock.

From daily The Morning Star in Britain:

Wednesday, July 18, 2018

How do you solve a problem like John Woodcock?

JOHN WOODCOCK’S resignation from the Labour Party is unlikely to trouble socialists.

The Barrow and Furness MP has shown no loyalty to his party since its members overwhelmingly elected Jeremy Corbyn to lead it in 2015 and again in 2016, and has seldom missed an opportunity to do it down.

Bitter losers, who refuse to acknowledge the huge political changes Britain has seen in the last three years, are affronted by the resurgence of the left and make it a point of principle to avoid understanding or engaging with Labour’s new mass membership, are sadly no rarity on Parliament’s benches, but Woodcock went further than most.

His support for the Saudi Arabian tyranny and the increasing authoritarianism of the Erdogan government in Turkey make a mockery of his attacks on Corbyn’s foreign policy positions (which he routinely distorts).

His decision at the height of the Windrush scandal to declare he had far more in common with Amber Rudd, presiding over a regime of racist deportations, than with [Labour’s] Diane Abbott, as she led the charge against them in Parliament, was of a piece with frequent pro-Tory interventions in the Commons.

His anger at Labour’s refusal to grant him special treatment during the investigation of misconduct allegations rings hollow, and his claim that Corbyn’s Labour is not a credible alternative government is poorly timed given YouGov’s finding that it has opened up a five-point lead over the Tories in the polls.

No, the party has no reason to mourn Woodcock’s departure — though pressure should be applied on him to do the decent thing and call a by-election to find out if his constituents would rather have a Labour MP.

But we should reflect on how to limit the damage done by MPs like Woodcock.

The government is on the ropes, and the left needs unity and discipline if the crisis engulfing the Establishment is to be resolved by forcing a general election, electing a Corbyn-led Labour government and implementing its socialist programme.

That isn’t helped by a handful of Labour MPs voting with the government and against their party on Brexit motions, but the opprobrium heaped on them for doing so contrasts with the free pass given to pro-Remain MPs whose enthusiasm for a second referendum or continued membership of the single market sees them defy the whip with equal insouciance.

The Tory rebellion against May repeatedly predicted by Remain supporters melts away every time it comes to a vote, with even die-hard Europhiles like Anna Soubry quietly backing May after railing against her stance.

The Conservatives are rightly frightened of a Labour government’s potential to transform our country — they will not risk an election willingly.

The “national government” floated by Soubry, Vince Cable and others is merely another scheme to put the lid back on the simmering popular revolt expressed in both Labour’s socialist revival and the vote to leave the EU, taken against the advice of every major political party and the bulk of the corporate Establishment.

Any such government would aim at killing two birds with one stone — stopping Brexit and stopping Corbyn, as Soubry’s sneering reference to working with “sensible” Labour MPs makes clear.

It would throw away the biggest opportunity the left has had to reshape Britain in many decades.

Labour’s democracy review will look at how the party’s structures can be made more accountable, while Chris Williamson and Tosh McDonald’s democracy roadshow promotes the idea that constituency Labour parties should choose their candidate ahead of each election rather than give sitting MPs an indefinite right to stay in post.

Both merit close attention, but neither is a substitute for a mass mobilisation of working people around Labour’s socialist programme and readiness to hold MPs’ feet to the fire if they try to sabotage it.

On August 7, the Daily Express reported that senior Labour MPs “have been holding secret away days at a luxury 12-acre holiday estate in Sussex to make plans to oust Jeremy Corbyn.” The meetings have been held for months as “moderate Labour MPs” plan Corbyn’s downfall, led by a core group of 12 and a wider group numbering “more than 20.” The Express lists former leadership candidate Liz Kendall, former shadow cabinet members Chuka Umunna and Chris Leslie, Stephen Kinnock and Gavin Shuker as present, along with John Woodcock, who has quit Labour to become an independent MP: here.