Philip Lane: A Tale of Treachery, Protection, Cucumbers and Marching Songs.

Cemal calls round last week. I haven’t seen him for ages. He’s been keeping a low profile in a charming northern city somewhere, railing against the lack of proper Turkish supermarkets, giving up smoking, complaining, nay mewling, about those other Kurds, those ‘Iranian’ ones, who turned out to be Iraqi, but also enjoying a good moan, breathing cleaner air, and getting very attached to his local, premier league, football team.

So we stroll out in the morning frost to investigate Philip Lane which, I realise, has completely changed since his departure last year. Now, he used to work at Aksu, little Aksu, the veg shop on the corner of Kitchener rd, that’s where I met him. Then the bigger shop by the bus stop, big Aksu, committed an act of unspeakable treachery. It started to stock vegetables too, not as well kept as those on the Kitchener rd corner, but veg nonetheless. The upshot was that little Aksu went 24 hours, then closed and was sold, unable to compete with its treacherous neighbour which now sold alcohol and veg. Little Aksu didn’t have room for alcohol and anyway Hussein’s wife was observant and didn’t really approve, so Hussein went and got drunk at the Turkish tea shop at the back of Botany Bay pub opposite and gambled away the shop’s meagre profit.

So, the ever stoical Cemal migrated over the road to work at Ocean Stores, another Turkish supermarket. We had only two so naturally a third was necessary. Mr. Ocean must have been a bit loaded so he bought up little Aksu as well and turned it into a butcher. That lasted less that a year, and was bought by Mr, Tea-shop-at-the-back-of-Botany-Bay-pub, affectionately known as ‘the Trafficker,’ on account of the alarmingly high turn over of Lithuanian women who worked at the bar in the tea-shop. So the Trafficker buys out the butcher’s shop and turns it into – yes that’s right – another of his lovely tea shops, because we’ve got only fifteen of them in Philip Lane / West Green road so, clearly, we need another.

Well then Mr. Ocean buys up the Turkish hostel at the back of Ocean Stores where my friends Cafar, Bilgen and their children used to live (in one room with the children in a bunk bed under the stairs in a corridor - happily they now live in a nice big flat at the back of Tescos opposite Seven Sisters), and where Cemal used to live, ‘bunking up’ with his mate, Rifat, and he, Mr. Ocean, extends Ocean Stores to include the butcher again. It’s now a pretty substantial supermarket. He even thoughtfully drops the price of soya milk from £1.29 to £1.19, having noticed at long last the Big Aksu has been selling theirs for £1.19 ever since they committed the cucumber coup.

Then what? Well, Botany Bay Pub was closed down and sold off around Christmas last year. Lately there’s been much activity and buying in of shop fittings and I ask the nice young woman at Ocean Stores what’s happening. Ocean Stores by now has doubled up as the local recruiting agency for the PKK. If you go there at the right time of day, there’s now a very chatty lad who plays, ‘communist marching song’s’ according to him. ‘I’m not supposed to,’ he confides and then starts trying to interest the hairy English anarchist man behind me, sporting ginger beard and desert fatigues, in joining up. He looks at me and boldly asserts, ‘there are almost as many women in the PKK as there are men, you know.’

I’m interested in more mundane matters though and, as the nice young woman counts my change, she informs me that Botany Bay is to be another supermarket – a really big one. ‘What sort of supermarket, which supermarket?’ I demand, dreading the onset of Tescos or similar. ‘Another Turkish family,’ she growls, and flares her nostrils for added emphasis.

Thing is, I cant see either Big Aksu or Mr Ocean going down without a fight and, given Ocean’s affiliations and Aksu’s protection racket which, according to Cemal, he started around the time of cucumber coup, I’m not sure if the sheer size of Botany Bay will be enough. The C Word’s prediction for 2009 is local skirmishes breaking out on the borders of N17 and N15, (BB is N15, Aksu and Ocean N17 – Philip Lane is the border,) resulting in possible all out war later in the year.

Maureen at the Laundrette on the corner of Philip Lane and Clonmell rd offers the best vantage point for anyone interested in observing from her splendid, full-size, picture windows. It was ideal for observing the fights at the pub and I’ve no doubt she’ll offer front row seats, tea so strong you could tar the road wit it, and a plentiful supply of her own unique Irish wisdom for all patrons in need. She also does a very fine line in second hand books. I wonder if there’s one about the battles of Broadwater Farm. Ah, now there’s another story. Thelma at the flower shop over the road can tell you all about that.

Origin, The London Craft Fair, 2008, part 2

Quote of the week, or possibly of the moth:

“My star customer at Origin was someone who owns Edmund de Waal's wall of pots
but feeds her children off my tableware.”

This from Linda Bloomfield, she of the delicate pink interiors.

So Origin 2 was, well, altogether more upbeat than week 1. If we consider the Crafts Council’s stated aims, one of which is to create a viable economic infrastructure for the craft sector, then this was an unqualified success, as far as I could see. It would be a truly ground breaking achievement if countable numbers of makers could generate a sustainable living wage from making and selling their work, assuming that’s what they want, without needing to be from a class or family background which is able to provide a trust fund, or help with the mortgage, or similar, to keep things afloat. The acid test of this is if a critical mass of women from non-moneyed backgrounds can achieve that even if they are single, or have no obvious access to money. Then you know you’ve got an infrastructure not just a sprinkling of exceptions, or a group of people who’ve netted higher income partners. If they can achieve that, I’ll be cheering them to the rafters, however ‘naff’ ore over perfect the craft is.

Origin, The London Craft Fair, 2008

Ladies and Gentlemen,
The C Word has important news to announce:
Sun Kim makes proper mugs with HANDLES! Yes, it’s true. Maker of very fine porcelain tableware, she did her stint in atelier de Waal, and emerged unscathed. None of that dimpled beaker business, so popular among makers of whitish ware. You can lift one of her mugs to your lips, and slurp your tea without fear of burning your hands, dropping the mug or waiting so long to touch the damn thing that the tea’s now tepid and undrinkable with a milk slick on the top. Yeucccchhhhhhhh.

To business then…
There is no doubt that under the auspices of Rosy Greenlees, the Crafts Council has become vastly more professional. Whereas the old Politburo spawned the Chelsea Craft Fair, which was a King’s Rd version of the annual church bazaar, so the New and Improved version has produced Origin which is altogether more Knightsbridge. It kicks off in a big white glistening tent in the Somerset House courtyard, next to Waterloo Bridge, in London, with fat carpets underfoot and every ‘stall’ a polished white or grey sort of cabin with plinths or whatever is required. You can plug in your laptop and play on line backgammon all day if you want.


As to the craft, well I didn’t see Chelsea after about 1985, and yesterday was the first time I’ve seen Origin, but ‘a source’ told me that they’d brought many new, younger makers this year. Gone, apparently, are most of the ‘old guard’. I’ve no idea who the OG were, but they’ve gone anyway, so perhaps it doesn’t matter. For better or worse, Origin now represents the newyoungupandcoming glitzy professional designer-makers. Origin is a shiny, glittering shopping mall and it meant business. It is unequivocally the commercial, commoditised end of craft, Greenlees’s ‘sector’ at work.

Strategy
So, like pushing an elephant up a long flight of stairs, you push craft up market and, all being well, the makers can, at last, earn a decent living. So everything is polished and ‘well made’ to the point of self-parody. It has to be, this is the ‘gold standard’. I have no idea if the strategy can work. It depends on the buyers understanding that they must pay much higher prices than they would for something which may well look quite similar, from Habitat or Cargo, but is in fact mass produced. Anecdotally at least, it can work. Chris Keenan designed some work for Habitat, and someone came to his stall at Origin and said, ‘Oh, I’ve got the one from Habitat, now I want one of the real thing.’ So, if this version of craft can project an idea of ‘authenticity,’ the ‘Original’ in fact, then the strategy could be a winner.

Class again..
The risk, and it could be a big risk, is that pushing it up market will just make it look, well, upwardly mobile, 'pretentious,' as someone, (Grayson Perry) once said. You see, you cant ever get away from talking about class when it comes to craft. If it goes posh, and people can actually earn a living without starving in the winter, it's called 'pretentious', in other words it's 'jumped up', 'got idea's above it's station.' The makers are s'posed to be peasants for godsake. Not earning a good wage. God's bread, whatever next, muttered the colonel, snorting into his port. My hunch, especially in the light of the global banking crisis, is that the top end will work, but I’m not sure about the knitted socks. By top end, I mean hand made, very high quality silver tableware, for example, well-crafted, contemporary design. I’d buy it. Portable wealth d'you see. Ceramics sits right in the middle. I’m not even going to try and guess.

Too much craft for the content
What i'd really like to see, is a move away from the insistence on 'well made' or rather, dare I say it, a more sophisticated understanding of what constitutes 'well made.' At the moment it's still stuck, as it ever was, in the 'too much craft of the content' rut. Most of the objects I encountered were just too ordinary to tolerate being blisteringly well made. Their material perfection just couldn't be justified by the banality of the object. So, what I'm really saying, is I want to see more substance and less craft. But this is not what Origin is about. I am in the wrong place.

Crafting Space
So much for the stalls, there are other things at Origin too. You could say it’s trying to be all things to all people. Hidden in dark nooks and crannies in the liminal spaces between the stalls, there are pieces of art. You can tell, because they’re on their own in dark spaces with carefully, self consciously written, curatorial flannel accompanying them. For all I know, these might be fabulous, immensely interesting works. If only one could see them. I wanted to like then and be happy they were there, god knows, for these I am certainly the designated audience. But they felt more like craft's dirty secret than convincing art moments. And as all good C Worders know, Craft is in fact Art's dirty secret. There is also an ‘interactive’ space. At first I thought this was a highly imaginative piece of audience research and was well impressed. I was wrong, it was an interactive textile work – which could still work as audience research but I don’t think that was the primary purpose. There was a big wire cage with ribbons woven into it on which were written the answers to questions such as: ‘what did you buy and why does it interest you?’ ‘Who are you giving the object to and what do they mean to you?’ and ‘Describe a gift you’ve received and how its changed your relationship with the giver.’ Find out more here.
The interactive project worked better than the art nooks. It was much more central and open and also inviting because you could sit down. They should have provided tea though. It was based on the old Persian poetry sharing thing, so tea should definitely have been there – or wine perhaps.

The Jury's still out...
For those of us who love craft because we relish its lowly status, its down-homeness, its folksyness, and we use that to explore a host of related ideas and tell all manner of low down tales, then Origin is a Big Yawn. It is mesmerising, busy with people and objects, and, once I’d got round it all, stupefying. But it isn’t meant for me. It’s meant for the people who go to Dorothy Perkins on Saturday, or Harvey Nichs on Sunday. For Craft readers who know London, but haven’t been to Origin, it’s like a turbo-charged CAA (Contemporary Applied Arts,) but more Bond St. than Oxford St, more Harvey Nichs than Dotty P, but both, I assume, are the intended market. The thing that I did feel sad about was that I couldn’t think of a single thing, that I really wanted. I was left with no feeling of desire or covetousness. I reflected on that for about half a day, and then remembered Sun Kim’s mugs with their silky satiny matt glazes, and their proper, properly placed, handles. So, just one thing then.

Cabbages and Quilts: The Wootton Flower and Produce Show, 2008.

Cabbages and Quilts: The Wootton Flower and Produce Show, 2008.

Ra tatataaaaaa, drum rolllllll, ratatat, dum diddle dum diddle dum dum dum. Intermittent strains of brass band music twirl around tents and idling teenagers, village elders and passing visitors, all of whom milled about the glistening green lawns and drifted in and out of immaculate white tents at this year’s village flower show. If ever there was an act of faith, a testament to optimism it was this. A rain drenched, wind swept, dripping cold August had put aside one fine day, Saturday 30th, for Wootton’s annual extravaganza of cabbages and cakes. Apples and preserves, cable knitted cardies, quilts and roses, all expertly assembled, jostled for position on their tables, and were justly, or unjustly, rewarded. An incident over the gladioli was duly calmed, the wasps sought refuge in the prize-winning cake, and everyone delighted in the glorious sunshine which bathed the tents and lawns and gardens all day.

So here it is, an authentic village flower show, which, as far as I can see, is still pretty much as it was 40 years ago, when I won first prize for a painting, aged 6. No one’s gone out of their way to insist in its unchanging state. It just hasn’t changed. Of course the people have. I’ve drifted off to London and the village has been almost entirely repopulated but the flower show still has runners and beets and marrows and carrots and ‘garden on a plate’. My niece made a mangrove swamp one year. She’s still feeling misunderstood because she didn’t win a prize. She’s 21 now. The ‘home craft’ is still astounding. It doesn’t seem even slightly naff to me, not in this context. It’s quite at home here. The exquisite smocking is for someone’s new baby, the tea cosies are for teapots, the quilts for someone’s bed, the knitted cardies will be worn, the wooden toys played with. I know, it all sounds too idyllic, but it is true. I don’t quite know how it is that people have the time, but the work is here to prove it. They’re not trying to make a living from it, which helps, but it’s all made for a purpose.

This should not be mistaken for ‘rural’ craft. Certainly Wootton is a village and is in ‘the country’. It is, however, a suburb in character, but one that is detached. It is one of the wealthiest areas in England now and its economy is entirely urban. No one goes to work in the village. Everyone who lives there works in neighbouring cities. The place is deserted during the day, apart from the school – ah ha, so there are teachers who work in Wootton, and as very small number of people who come to clean houses and maintain gardens. So Wootton flower and produce show is a product of urban – not always wealth, but stable income - combined with a mixture of creative domestic activity, good gardeners, - and these are the ones cared for by the owners, not paid gardeners, - and an industrious spirit – oh and a touch of neighbourly competitiveness. Tottenham flower and prod show would be very similar. There are enough people with a stable income to fund the creative domestic activity, a wealth of domestic skill, and we even have the ‘country’ house, - Bruce Castle – which can compete with any in the land – and we have the 400 year old oak trees. It would just be a more multi-cultural that’s all.

As to craft, village craft vs. gallery craft, well – craft it seems becomes a problem requiring scrutiny, only when it departs from the flower show and from that use/comfort/decoration mix to something that either questions itself and what it’s doing in an industrialised society or when it is used as a medium to explore ideas which are part of its habitus, probably, but not part of it usual or original social role.

This seems like a good place to leave this post which serves, I think, as a good introduction to the next series of posts which will talk about Ceramics in the City, Origin and so forth, as well as a fond farewell to the summer holiday – such as it was.

The C Word, Seconds Away, Round 2: Class

The Workhouse, the Slum, the Slum Landlord and the Eternal Waiting-Room.

Some people are saying ‘the white working class’ has disappeared, some that class as a political issue has ‘got away,’ it has even been said that ‘we are all middle class now,’ but whichever way you look at it, you could hardly fail to notice that Britain is still infested with class structures of numerous sorts which blight lives and stifle minds.
For a while I thought we were just reinventing class; that we’d put the fences up in different places. Now I suspect we may be reintroducing some much older structures.The next six posts were written as one over the last few days and divided up to make it a bit more blog-friendly.

The Loathsome Peasant

My first candidate for reintroduction is the character of ‘The Loathsome Peasant.’ I noticed the return of this character, dragged back from the mid Eighteenth Century, when I lived in Yorkshire, in a village impoverished almost beyond retrieve. Surrounding this character was a motley crowd of influential others. Step forward: The Countryside Alliance, The (pro) Hunting Lobby, The (anti) Hunting Lobby, The Old Aristocracy, or what remains of them, and The New Aristocracy (‘media types,’ newspaper owners, their editors, some of their journalists, and most of the BBC).

‘The Loathsome Peasant,’ as constructed by the NAs, in particular, and their various stooges, is working class, or possibly lower middle class, lives in the country and isn’t very cultured. They might also live in a small town. They’re always racist, even if they’re black, which of course they never are because only white people live in the country. They’re probably not that well educated because the schools aren’t much good. The area is poor and these areas are concentrated in – well everywhere that isn’t a large thriving metropolitan centre and isn’t London or The South, or rather the ‘Home Counties’ with some other bits added on. In other words this character is probably the very same white working class who’s ‘disappeared.’ While the NAs would cheerfully execute the lot of them, which could be why they’ve disappeared, what really confuses the issue is that all those influential others, above named, also despise them. You see, they’re not Proper Peasants. They’re just a bit common.

A Yorkshire Village and the Urban Peasant

That Yorkshire village I mentioned provides a fine example of what I’m talking about. I was organising a community project which involved repairing the railings of the local community centre. Ah ha, thought I, let’s get the ‘Young Offenders Team’ in to do it, local participation and involvement and all that. The YOT were in fact part of social services, not, as the name suggests, a team of obliging local hooligans. The point is that the YOT worked with YOs, and supervised them doing good works around the county, in particular good works of the sort that ‘made reparation’ for the bad deeds they’d done before. So, along they come with their very sweet supervisor from Halifax and set to with the railings. Good reports of the day’s activities proliferated. ‘It can’t have been that exciting, surely,’ I thought, suspicious. Further enquiries revealed that the YOs, had indeed been having a whale of time: while they’d been working at the front of the community centre, the centre ‘workers’ had been cheerfully selling class A drugs out the back. It was only a matter of time before the too sweet supervisor had her back turned and a nice little circuit was set up.

This was how most people in the village were making their daily bread. They’d long given up on jobs. It’s not just that there weren’t any, there were never going to be any. Thus I decided to return to London to seek my fortune. Much as I loved that place, it really didn’t have a future. To my surprise, I found that the ‘Loathsome Peasant’ also lived in London. It took me a while to recognise him/her at first, because everyone, even the poor people, looked fantastically rich by comparison to the village. What I hadn’t grasped was that the rich-looking poor people were in fact just living on the never-never. The NAs despise the Urban Peasants in slightly different ways. Sometimes they use ‘social exclusion’ language, sometimes it’s about ‘under achievement,’ and much of the time its about ‘culture,’ which is the acceptable face of class, but contempt is contempt, whichever way you wrap it up.

The Workhouse

Next in line for reintroduction, also with a nice flavour of the mid Eighteenth Century is the Workhouse.
I live in Tottenham, an unlovely part of the North London Borough of Haringey. I love it, because I like my neighbours. But it is bleak. It has no centre and little soul and fairly bristles with workhouses. People migrate here from numerous different countries, but in the lattice of streets where I live, the population is mainly Kurdish, from Central Turkey. They are not PKK and need asylum as much to escape unwelcome and violent attention from that organisation as from the equally violent and unwelcome interference from the Turkish Gendarma, the military police. A mixture of studied ignorance and institutional brutality from the Home Office has resulted in large numbers of what can only be called Ignored Asylum Seekers. These are the ones who cannot be deported because their case for asylum is too good. So the HO has instead adopted a policy of first ignoring them and then criminalising them by refusing to allow them either to work or to claim benefit. They have to survive, so they work illegally and are exploited to the limits of their endurance.
So we have in Tottenham a critical mass of criminalised workers, who, as my friend Jamal did, work standing up for at least 14 hours a day with no break, (stop and think about that for a second), no day off and no holiday. He worked like this, without a single day off, for six years, rarely seeing the light of day, because mostly he worked nights. He is one of hundreds, possibly thousands. Jamal worked at the front of the shop, he met the customers; we all knew him. Most of the women, however, especially in the kebab and pizza shops, are at the back, in the kitchens. You wont see them. Our local economy is more or less dependent on these people. Remove them and we lose our entire local community. Welcome to Britain’s workhouses.

The Slum Landlord

Hogarth would be proud of our next candidate: The Slum and its cohort, The Slum Landlord. This comes complete with Gin Lane, or, more accurately, Cider Close.
Our local newspaper, ‘The Haringey Independent,’ excelled itself on Friday march 7th, ‘Migrant workers’ slum cleared out,’ it howled. Turned out a bunch of Polish men had set up camp under the arches next to the car park near Seven Sisters Tube station. The paper said about thirty people had been there for four weeks, but a small number have been there for some months, certainly since last summer. Directly related to this is the reintroduction of Lord Land-Scumbag, or The Slum Landlord. These are the buy-to-let vermin who bought up properties on the cheap, and let them to ‘asylums’ and migrant workers at extortionate prices. In order to pay the COLLOSSAL rent, a two bedroom flat, such as the one next door to me, will house anything up to twelve people. Two in each room including the living room, sleeping the day shift, and another two in each for the night shift. The charmless Goksun Guest House on the corner of my street also does this. After he’d finished his shift at the shop opposite, Jamal went to his bed which had just been vacated by Mehmet, only minutes before. Mehmet would then come downstairs to do the day shift.

The Servant Class and The Criminal Class

So we have the peasant, the slum dweller, the pitiful immigrant and the pitiless landlord. We are carefully reconstructing a labouring class from the people who have migrated here from the EU, and who work under restrictions. Romanians and Bulgarians can do only labouring work, no matter what their qualifications. ‘You keep the good jobs for the people from the rich countries,’ scowls Tavi, ‘You want people from the poor countries to do your shit work for you.’ We seem to have created a whole new ‘servant class’ from the Eastern European countries. These are the ‘respectable working class’ now. Those from outside the EU, with slightly darker skins and dodgy religious practices, like Jamal and Mehmet are the criminal classes. They’re the lucky ones though, relatively speaking. They have family here, and can avoid the worst excesses of Home Office Enforcement.

Consider Hasan, 20 years old, from Uzbekistan, here on his own, and without proper legal representation. Now electronically tagged, (a form of post modern leg-iron), he and his housemates are subject to relentless ‘visits’ from the Home Office at strange times of the night. Yet they wont deport him, or Samira, from Iran, who has so far managed to avoid the tagging, but only because she does have a good lawyer and a very politically aware brother to defend her. They both work the endless hours, and they’re both stuck forever in the Eternal Waiting Room while the HO also waits- to see who’ll blink first. Utterly guileless, Jamal is mystified by the refusal of his asylum claim: ‘I think the Home Office just don’t understand,’ he puzzles, trying to defend this institution of the democracy he loves. They understand alright, that’s why they make no active attempt to detain or deport him. They’re just trying to starve him out along with the others. I do sometimes wonder if ‘the workhouse’ is really the right word for this, in bleaker moments it seems more like a ghastly parody of the Gulag.

Welcome to The C word

Friday, march 7th 2008. Dark moon according to my diary.
Dear Readers,
Welcome to The C word, which in this blog refers to in particular to Craft and to Class. The first is art's C word, the second is the C word of political theorists, academics and journalists, among others, or as someone, (Terry Eagleton?) put it, 'the issue that got away'. Just to warn you, I think commas may be one of my personal c words, since I'm inclined to lose the plot with them, so if any school teacherly types feel inclined to get out the cyber-red-pen and correct my postings, I'd be eternally grateful. Vis a vis the class thing, I've heard there's a series of telly programmes on the matter, and I know I wont get round to watching any of them; so please, send in your reviews and comments if you have a better relationship with your telly than I do.

My name is Claudia, and Clare is my surname, which is also a rather feeble excuse for the title of this blog, and I'm a potter who likes writing. I do write in a proper published sort of way, but here I get to say what I like. Welcome then, to the unedited version. The next four posts I wrote in February, over a weekend I think. I wanted to use it to get the blog started, so It's pasted in and I hope will give some of you, both of you, something to get your teeth into.