On Connection: 'Powerful' MATT HAIG (Faber Social)

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In November 2019, along with other public figures, Tempest signed a letter supporting Labour Party leader Jeremy Corbyn describing him as "a beacon of hope in the struggle against emergent far-right nationalism, xenophobia and racism in much of the democratic world" and endorsed him in the 2019 UK general election. [31] In December 2019, along with 42 other leading cultural figures, they signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few." [32] [33] Reception [ edit ] Their mastery of music and language is due in no small part to years spent beat-making and rapping on the streets of South London as a teen – and it gives a particular charge to their style of performance. In On Connection, Tempest reveals the “strange and passionate relationship” they have had with their own creativity since the age of 12, “suffering from mental health problems and using drugs and alcohol to cope with a difficult brain, troubles at home and gender dysphoria”. Tempest's song "People's Faces" was used for the Facebook commercial "We're Never Lost If We Can Find Each Other", created by the agency Droga5, and released on 9 April 2020. [29]

In October 2020, Faber published Kae’s first work of non-fiction, On Connection, a “sonorous, humane polemic, advocating the values of sharing, authenticity and creativity over the heightened individualism, competitiveness and consumerism that dominate our society today… a powerful remedy and an urgent call for change.’ It wasn’t only about the words themselves, but how the words spoken in sequence at the right depth of feeling became bridges between emotion and experience. Between audience and stage, between venue and crowd. Between the day that everyone in attendance had brought into the room with them, and the prospect of the night to come. When the connection is made, everything is linked and moving towards a moment of mutual feeling, a creative connection that binds the entire room into a unified present. All that fear was about shame,” Tempest says. “I was afraid, because of internalised homophobia and transphobia. I was afraid to be who I was, because I’d learned that it was ugly. I was resigned to being wrong all my life. Coming out and saying I’m trans, non-binary, is me saying I’m on a journey.” They’re still not certain where it’ll take them. “But I realised the ramifications of what might happen didn’t seem as scary as living with this boiling hot secret in my heart for eternity.” I am aware my brain is intense. It’s like this weird mate always hanging out with meNaarmate mijn India-trips achter me lagen begon dit sleutelwoord te slijten. Met mijn voeten weer steeds dieper in Westerse grond kwam de mantra van loslaten, afleiding, verwondering en geduld verder en verder in het Verre Oosten te liggen. Mettertijd brokkelde de steun die ik in mijn alledaagse leven kreeg van hulplijnen ‘India’ en ‘This is water’ af. Gelukkig vond ik vorige week een kersverse houvast: het boekje On connection van de Britse (slam) poet Kae Tempest. Coming out has been huge,” Tempest says, tentatively. “A beautiful but difficult thing to do publicly.” The process has been fraught with pain and uncertainty. “It’s hard enough to say: ‘Hey look, I’m trans or non-binary,’ to loved ones. And I have this twin life beyond my friends and family.” I don’t understand how our bodies became territory for war De strijd die Tempest al hun hele leven met zichzelf leveren, is erg herkenbaar. Wat zij daar uit leren en hoe ze dat proberen waar te maken is universeel en helder onder woorden gebracht. Tempest wil niet meer overtuigen, maar gewoon connectie maken. Mensen voelen, aanvoelen, begrijpen en mededogen tonen.

Tempest schudt je wakker, zet je voor de spiegel, opent je ziel en laat haar vrij. De wereld in. Het moment waarin je je bevindt - het moment dat telt. Kijk om je heen. Alles leeft. Land, zie, voel tot in het diepste van je zijn. Van je kruin tot in je tenen. Voel je het al? Al dat leven? The role is extraordinary – and usually a man gets to do it’ … Lesley Sharp as Philoctetes in rehearsals. Photograph: Helen Murray This little book shook me to my very foundations. It came to me when I needed it most. Now, I know what seems obvious, the loneliness of Covid-times and the absence of Connection in times like these, etc - yes, that is relevant here, but the reason why I was so moved goes way deeper. Join Tempest as they reflect on the nature of creativity and connection in conversation with comedian and writer Athena Kugblenu, broadcast from our Royal Festival Hall.

The surgery went ahead, with three full weeks of total vocal rest to follow. “I was reduced to the corporeal. After a lifetime of trying to escape my body, trying to be more than my body, trying to excuse my body, needing to talk my way out of my body because it was the wrong body and it didn’t look like other people’s bodies, I was my body entirely,” Tempest writes.

Drawing on two decades of experience as a writer and performer, Kae Tempest champions the role of creativity — in whatever form we choose to practice it — as an act of love, helping us establish a deeper relationship to our true selves, and to others and the world we live in. Tempest won the 2013 Ted Hughes Award, was nominated for a Costa Book Award and a BRIT Award, has been shortlisted for the Mercury Prize twice and was nominated for two Ivor Novello Awards. They were also named a Next Generation Poet by the Poetry Book Society, a decennial accolade. Facebook TV Commercial, 'We're Never Lost If We Can Find Each Other' Song by Kate Tempest". iSpot.tv . Retrieved 9 April 2020.

And so it continues. This month, Tempest heads to the US on tour. The European leg starts in April. There is another novel in the works; a book of poetry, too. There’s more, of course. So much of it. “I can feel myself at an important moment creatively,” they say. “Things spinning around in my head; coming out of my hands.” Frankly, I say, it sounds exhausting.

In October 2014, their first poetry collection for Picador, Hold Your Own, was published. The collection was a commercial and critical success and its release coincided with Tempest being named a Next Generation Poet. Een van de mooiste essays die ik ooit gelezen heb. Resoneerde enorm met mij en waar ik voor sta en hoe ik mij profileer naar de wereld (althans, mijn beeld daarvan). Tempest zet ideeën over verbinding uit een, maar ook over schrijven, performen, lezen en luisteren. Maken en voelen. Hoe we ons als mens verhouden naar elkaar en de wereld. Werkelijk prachtig. Enorme aanrader, zeker als je je bezig houdt met de kunsten. They were determined to succeed as a performer. But being so visible came with its own set of challenges. Suddenly they were “she” and “her” in the press; nominated in the best female category. Interviews could feel treacherous. It’s not that dysphoria ever went away, but with all eyes on them, Tempest didn’t know how to engage with it. a b c " 'Mercury nominees 2014: Kate Tempest". Guardian Music Blog. London. 22 October 2014 . Retrieved 6 February 2018.

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For the last couple of records,” they say, “I wanted to disappear completely from the front-facing aspects of the industry.” There was a genuine desire to let the work speak for itself; constantly grappling with the fact that as a writer their output was enough, yet putting out music meant being public-facing. “But this time, I want to be different.”