Amelia’s Magazine | Pam Hogg: London Fashion Week A/W 2014 Catwalk Review

Pam Hogg A/W 2014 by Marina Muun

Pam Hogg A/W 2014 by Marina Muun

I thoroughly enjoyed the Pam Hogg S/S 2014 catwalk show last September, bathed as it was in a joyous theatrical atmosphere. So I was a little surprised to find that this season the Pam Hogg A/W 2014 show felt like a deflated repetition of last year, with a couple of the outfits seemingly almost identical to those shown for S/S 2014. However, it all made much more sense when, afterwards, I found out more about how and why this collection was created. In fact, Pam Hogg had opted not to show this season, but had a change of heart after a last minute personal request from Amnesty International to give a nod to Russian punk band Pussy Riot during London Fashion Week, especially as the event coincided with the Winter Olympics in Sochi, Russia. Therefore, there were only three weeks to put the collection together.

Pam Hogg A/W 2014 by Jenny Robins

Pam Hogg A/W 2014 by Jenny Robins

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A/W 2014 by Kit Wagstaff

Pam Hogg A/W 2014 by Kit Wagstaff

The show was titled COURAGE and opened with models carrying boards emblazoned with the statements “This is a dedication to Pussy Riot” and “This collection is not for sale“. The first section of the collection featured the distinctive coloured balaclavas which have become a widely-recognised symbol of the Pussy Riot girls, and was a straight dedication to the group. Pam Hogg sent ethereal bridal looks accessorised with ornate gold headpieces down the catwalk on a mixture of male, female and transexual models, perhaps in an effort to highlight the issues around gay marriage, especially in Russia. According to her, gold represents the church and white represents peace and love for everyone. The intense colours that were patchworked into her trademark catsuits were her tribute to the gay community and the richness that it has given culture.

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A/W 2014 by Mitika Suri

Pam Hogg A/W 2014 by Mitika Suri

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

Pam Hogg A-W 2014 catwalk photo by Maria Papadimitriou

All photography by Maria Papadimitriou.

Categories ,A/W 2014, ,Amnesty, ,Amnesty International, ,Catwalk review, ,COURAGE, ,Fashion Scout, ,Jenny Robins, ,Kit Wagstaff, ,LGBT, ,London Fashion Week, ,Maria Papadimitriou, ,Mitika Chohan, ,Mitika Suri, ,Pam Hogg, ,protest, ,punk, ,pussy riot, ,Russia!, ,Sochi, ,Winter Olympics

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Amelia’s Magazine | Remembering Saro-Wiwa

Monday 20th

Slow Club is a duo formed by Charles and Rebecca, this web buy information pills who both come from Sheffield. He does the singing and plays the guitar; she deals with the drums and all sorts of weird instruments, from bottles of water to wooden chairs. The result? You can go hear for yourself tonight at Barfly.
7pm. £5.

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Slow Club

Tuesday 21th

We Fell To Earth and special guests at the ICA theatre. Richard File (UNKLE) and PJ Harvey-ish singer/bassist Wendy Rae doing something that they call “sinister and kind of arousing rock music”.
8pm. £10.

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We Fell To Earth

Wednesday 22th
Vessels will be at Buffalo Bar this Wednesday launching “Retreat”, a collection of songs including a single, some remixes and an unreleased track by this Leeds five-piece.
8pm. £6.

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Vessels

Thursday 23th
Camera Obscura make a come back with “My Maudlin Career”, the band’s fourth studio album that is coming out today.
All their sweet freshness that you could feel from the first single out entitled “French Navy” will be performed on the stage of Shepherds Bush Empire next Thursday.
7pm. £13.50.

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Camera Obscura

Friday 24th

Je Suis Animal single launch party for the upcoming release ‘The Mystery of Marie Roget’ 7″ at The Victoria. Support comes from Betty and The Werewolves and Hong Kong In The 60s. People from Twee as F*** also promise free cupcakes for earlybirds so that is a Friday night out you can not miss.
9pm. £6/ 5 concessions.

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Je Suis Animal

Saturday 25th

The Camden Crawl Festival brings the best of Indie to town. Line up for Saturday looks like great performances will be on stage. The Maccabees, Little Boots, Marina And The Diamonds and The Golden Silvers are only a few to be named.
12pm. £32.50 (Saturday only).

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The Golden Silvers

Sunday 26th
Due to the Casiotone for the Painfully Alone‘s sell-out London show on 27th April, a new show has been added on Sunday 26th April – also at The Luminaire. Releasing their fifth album, Vs. Children, the band succeeded to make a record that feels just as warm and intimate as the first.
7:30pm. £8.50, adv £8.

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Casiotone for the Painfully Alone
On the cover of this CD, sickness Caroline Weeks appears to be a healthy, seek pink-skinned young woman. However, sildenafil fill your ears with her music, and you will be in no doubt that she is a ghost. And her clarinettist, too. Ghosts! Caroline has been to the other side, and seen things, and now wanders around my auditory cortex in a Victorian gown, lamenting the moment that life’s glories were cruelly wrenched from her grasp. Maybe Caroline drowned in a lake, or caught one of those Jane Austen chills, or fell under a horse, or was cuddled to death by an overaffectionate simple boy cousin. I can’t begin to imagine what happened to her polter-woodwindist. Probably choked on his reed.

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This is the spookiest music I have heard in a long time. She feels like a sister to SixToes, playing with similar moods, guitar work and larynx-trembling. But much spookier. I can’t help but think of Winona Ryder in Beetlejuice, a morbid teenager rejecting the world from her wilfully glum bedroom. So it’s not a huge surprise to discover that Caroline is also Ginger Lee, colleague of Natasha Khan in Bat For Lashes. Although you can actually dance to some of Natasha’s ditties, there is the moody, brooding moroseness there too. But while Bat For Lashes keeps this in the realm of relationships with sprinklings of dreamy visions, Caroline Weeks takes it to the pure Victorian pre-Pankhurst inner world of reflective femininity.
It turns out that all the lyrics are taken from the poems of Edna St. Vincent Millay, an early Twentieth Century American who was the first woman to win the Pulitzer Prize for poetry. Musically, it is very accomplished. Recorded quite simplistically, with a few dramatic reverb effects, the instrumentation has plenty of room to shine. The guitar gently drifts between dextrous, finger-picked, rhythmic regularity and airy pausing in a lovely, caressy, wavey kind of way. But it’s the tender voice that dominates, or haunts, the album. Caroline sings to you. It’s deeply personal, and unwavering in its humourless, sorrowful plea. And there is much depth of feeling and depth of lyric, which I cannot really do justice to here.
This is simply music to surrender to. Alone. Dim the lights, let the shadows fall across your soul and be utterly, utterly alone with the ghost of Caroline Weeks.

La Weeks is performing at The Good Ship in Kilburn on May 19.
Tuesday 21st April

2pm
Institute of Education?
20 Bedford Way, buy
?London WC1H 0AL?

“How to Educate Children in the UK About Sustainable Development”
discussion with Professor Randall Curren, more about Institute of Education. Info: fbrettell@ioe.ac.uk or call 020 7612 6000

Lea%20JaffyEarth_kids.jpg
(Image courtesy of Lea Jaffy, email leajaffy_1@hotmail.com for further illustrations)

Wednesday 22nd April

“The Green Agenda: Are We Engaging The Consumer?”
9:30am

Dorich House Museum
67 Kingston Vale,
London SW15 3RN

The rise and rise of the green agenda is creating an ever increasing number of green initiatives, CSR projects, and local and national government proposals. Almost all organisations – both commercial and non commercial – want to establish their green credentials and communicate them to the consumer.
To explore these issues and to find new ways of engaging the customer, Kingston University has brought together a number of leading experts from a wide range of sectors – manufacturing, retailing, NGO’s, academics and a number of consultancies.
For full programme information and to book please go to http://business.kingston.ac.uk/flavor1.php?id=398.
Contact: Wendy Eatenton
?Tel: 020 8547 2000 ext. 65511
?Email: rm.rettie@kingston.ac.uk

“Can Developing Country Needs For Energy Be Met Without Causing Climate Change”

LeaJaffyEnergy3world.jpg
(Image courtesy of Lea Jaffy, email leajaffy_1@hotmail.com for further illustrations)

1.00pm
Committee Room 14
Palace of Westminster, London
SW1A 2PW
Recent studies suggest a large potential for clean energy projects in Sub-Saharan Africa; if fully implemented, they could provide more than twice the regions current installed power-generation capacity. It has been posited that Latin America has a comparative advantage in maximizing clean energy opportunities; energy consumption could be reduced by 10 percent over the next decade by investing in energy efficiency. This suggests that the adoption of clean energy technologies typically results in a “win:win” situation for developing countries: reducing costs and emissions.
But many developing countries have been failing to reach their full productive potential for years. Growth diagnostic studies in many developing countries regularly identify constraints such as lack of grid electricity and poor infrastructure. Typically, levels of investment in the electricity sector in developing countries are around 50 percent of needs. Credit constraints mean that the cheapest available options are often chosen as opposed to those that deliver environmental benefits. So can developing country needs for energy be met without causing climate change?  How can developing countries be incentivised to adopt cleaner energy? And what steps do developed countries need to take to facilitate this?

Professor Sir David King, Gordon MacKerron. Info: 7922 0300/ meetings@odi.org.uk/ ODI

Thursday 23rd April

“Financial Meltdown and The End of the Age of Greed”

Aaron%20capitalist_final.jpg
(Image courtesy of Aarron Taylor, www.aarrontaylor.com)

7pm
Frontline Club, 13 Norfolk Place, W2 1QJ
Info: 7479 8950
£10 Online booking now available
This event will be moderated by Michael Wilson, Business Editor of Sky News
Paul Mason talks about the ongoing financial crisis that has brough the global economy to the brink of depression. Gordon Brown hailed the result of deregulation as the ‘golden age’ of banking in the UK. Mason will give insights into how deregulation is at the heart of the collapse of the banking system in September and October 2008 and how it led to expanded subprime mortgage lending, an uncontrollable derivatives market, and the lethal fusion of banking and insurance.
http://www.frontlineclub.com/events/


Saturday 25th April

People’s Republic of Southwark April Mini Eco-Fair
People’s Republic of Southwark
Brandon Street/Orb Street
SE17

12.00pm – 4.00pm 
On Saturday 25th April, 12-4pm, People’s Republic of Southwark’s mini eco-fair goes all the way to SE17, to the Nursery Row Park http://www.nurseryrowpark.org/SaveNurseryRow/Welcome.html , a beautiful green space located just behind the East Street Market (between Brandon and Orb Street).?? We are hoping to have another great day out for everyone and some of the activities for the day are:?- mulching the orchard?- planting sunflower seeds?- making art?- a free shop (space where you can swap/give away/take things you need for free – bring easy-to-carry usable things you don’t need, ex clothes, dvds, books. and swap them for something you do need or simply give them away to someone who does; please don’t bring anything bulky or electrical)?- seed swap (get your window boxes, balconies, gardens ready for spring and summer)?- you can also find out about local environmental projects, issues and campaigns. ?Or just come along for a chat
Prepare to throw your sensibilities and all sense of conventionality out of the window! Why I hear you scream? Well, search this week sees Alternative Fashion Week bombard an unsuspecting Spitalfields in all its wonderful obscurity. Forget all the opulence of London Fashion Week; Alternative Fashion Week is going to assail you with raw, viagra buy un-censored Fashion Design.

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The event unlike London Fashion Week is open to everyone and free for the designers to participate. It will be running all this week from the 20th-24th of April at Spitalfields Traders Market. So get your skates on people and get on down for all the outlandish action. With 15 shows a day, it will see at least 10,000-hop foot through their doors. Applicants range from recent graduates to independent designers keen to establish themselves in the fashion sphere. The participants are an eclectic range of designers from a myriad of different fields from the theatre to circus, so be prepared for a vivacious show. In conjunction with the free daily shows, the event hosts an adjacent market from noon till three showcasing a whole treasure trove of accessories, Womenswear and textiles for us to feast upon.

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Here is a sneak peak at one of the accessory designers that will showcase her A/W collection at the event. Helen Rochfort’s innovative designs focus on all things delectable. Infact just glancing at her liquorice allsorts bag is enough to have me running to the nearest sweet shop for a fix. She describes her delectable designs as simply “ a sprinkling of vintage and a dusting of retro all whipping together with a kitsch twist of humour” So keep your eyes out for Rochfort’s designs, they are hard to miss!

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The event prides itself on its promotion of sustainable fashion, and actively supports recycling and ethical sourcing. It’s organizers are The Alternative Arts, a group based in East London that invests in local artists and projects in the community. Its overriding ethos is the importance of accessible fashion and art in the public domain.

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The event is a riot of creativity that questions our ideological view of fashion design; Alternative Fashion Week provides that vital foundation for applications to bridge the gap between them and the seemingly intimidating abyss of the fashion industry.

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So keep your eyes peeled as Amelia’s Magazine will be reporting from the front line this week to bring you all the zany fun and frolics!
Sometimes the stories for Amelia’s Magazine come to us. And this story is one of unimaginable corruption by one of the worlds largest companies, search aided by an equally unscrupulous government. While there will never be a happy ending to this tale, medicine there may be, tadalafil after many years of campaigning, justice finally delivered. I was emailed recently by a group called Remember Saro-Wiwa, asking if I would attend a talk entitled Wiwa Vs Shell at the Amnesty International House in London.

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I went along to the event, which was fully attended, and listened to what this case was about. In 1995, a man called Ken Saro-Wiwa, along with eight colleagues from the Ogoni region of Nigeria, was executed by the Nigerian State for campaigning against the devastation of the Niger Delta by oil companies, specifically Shell Oil. Thankfully, this is not where the story ends. On May 26th, 2009, after fourteen years, Shell will stand trial in New York for complicity in human rights abuses in Nigeria, including the execution of Ken Saro Wiwa and his eight colleagues. The purpose of the evening was to highlight the case, and I listened in horror and disbelief to what has been happening in Nigeria. Having not known much about the unethical way that oil companies conduct their business – and the ways in which they silence their objectors – I could almost not comprehend what I was hearing. The panel speaking included Katie Redford, a U.S lawyer and co founder of EarthRights International, which, along with the Center for Constitutional Rights has filed the case against Shell.

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She discussed the upcoming trial, and included the seemingly never-ending charges which have finally been brought against them. As well as the charge of complicity in crimes against humanity, they are being charged with torture, arbitrary arrest and detainment. We learnt that this is a groundbreaking case – companies of this size do not usually find themselves in court for their actions – however reprehensible. If Shell are found liable, they could be forced to pay damages that could amount to hundreds of millions of dollars.

We learnt about the situation between Ken Saro-Wiwa and Shell. From the time that Shell had started producing oil in the Delta in 1958, the local communities had been concerned about the levels of pollution, along with the gas flares which were coming from Shell’s production plant. Furthermore, drilling operations were routinely destroying farmers lands with oil spillage and rendering the lands unsuitable for use. When faced with such levels of devastation to their land (and health), it seems only natural that the communities would protest.

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Unfortunately for them, Shell and the Nigerian Government were not in the business of facilitating these protests; instead, Shell would employ the presence of the Mobile Police Force, who were also known as the “kill and go”police. At one such protest, the MPF massacred 80 people and destroyed around 500 homes. Saro-Wiwa, who had always been a prominent figure in the campaigns against Shell was arrested and charged under bogus offences – unlawful assembly and conspiring to publish a ‘seditious’ pamphlet. On November 10th, 1995, Saro-Wiwa, along with 8 others was executed.

Speaking at Amnesty International, Ben Amunwa, who was chairing the evening, used a quote from Milan Kundera to help surmise the subsequent fight to continue with Saro-Wiwa’s cause, and bring long awaited justice : “The struggle of man against power is the struggle of memory against forgetting”. I spoke with one of the campaigners behind Remember Saro-Wiwa afterwards and asked how others can get involved. He told me that ” We’re currently in the process of developing a website and hopefully actions people can take as part of the shell guilty campaign, we hope to use viral films, the media and activist actions to generate loads of attention on Shell around the trial. At the moment it’s just about spreading awareness of the trial to warm people up for actions they can take further down the line.    

In the meantime we would encourage people join the facebook group. Our current aim is to get 1000 members. One way we are thinking about framing this call out is:

Take the 999 action:

9 Ogoni activists died for their cause
2009: the year their relatives must see justice and gas flaring in Nigeria must end
9: the number of your friends we urge you to invite to join this group.”

Everyone involved with this case will be eagerly awaiting the outcome of the trial in New York. After the panel had finished, I spoke with Katie Redford and asked her whether she felt positive about the outcome of this groundbreaking trial. She explained that while no one can predict whom the jury will side with, or what the outcome may be, the fact that a global and powerful company such as Shell will be finally held accountable for their actions in the Niger Delta demonstrates the power that non-violent protesters actually wield. Although it took twelve years to get to this stage, it seems like justice is finally being administered.

Categories ,Africa, ,Amnesty International, ,Shell Oil

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Amelia’s Magazine | Earth Listings: 16th – 22nd November 2009

Cindy Crawford shoesHALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, diagnosis PICCADILLY, online W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britainHANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cM&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsGLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Cindy Crawford shoes

Image courtesy of ‘Hall of Fame’.

HALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, cialis 40mg PICCADILLY, pilule W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britainImage courtesy of  Handmade in Britain.

HANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cImage courtesy of Marks & Spencer.

M&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsImage courtesy of Gladrags and Handbags.

GLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410Image courtesy of H&M.

JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

Selfridges charity saleImage courtesy of Selfridges.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Cindy Crawford shoes

Image courtesy of ‘Hall of Fame’.

HALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, sale PICCADILLY, cialis 40mg W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britain  Image courtesy of  Handmade in Britain.

HANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cImage courtesy of Marks & Spencer.

M&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsImage courtesy of Gladrags and Handbags.

GLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410Image courtesy of H&M.

JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

Selfridges charity saleImage courtesy of Selfridges.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Time to put some pressure on RBS, cheap start preparing for Copenhagen and get engaged with some of the most important issues of our time!

RBS Tar Sands Action
Tuesday 17th November 2009

EL

Representatives from First Nation communities are coming all the way from Canada to hand RBS executives a letter to ask them to STOP financing tar sands. Show solidarity with the indigenous people of Canada by joining them to take action against the Royal Bank of Scotland.
Meeting outside Liverpool Street tube Station at 2pm. Bring old tights, store and clothes you don’t mind getting a little messy. Fake blood a plenty apparently!

Simon Hughes is also hosting a meeting with the First Nation activists in the Houses of Parliament at 10:00 am. All are welcome. Please come, viagra 40mg and email your MP through www.writetothem.com asking them to meet you there.

Time: 2pm
Venue: Liverpool Street Tube
Website: http://www.facebook.com/event

Age of Stupid screening
Tuesday 17th November 2009

el2

The Campaign against Climate Change in association with Amnesty International present a screening of the film The Age of Stupid at The Human Rights Action Centre. The screening will be followed by a panel discussion with speakers including Phil Thornhill and Abi Edgar from the Campaign against Climate Change.
Tickets must be booked through the Amnesty International website.

Time: 6:30pm
Venue: The Human Rights Action Centre, 17-25 New Inn Yard, Shoreditch, London EC2A 3EA
Contacts: Paul Eagle
Website: www.amnesty.org.uk/eventsdetails.asp?ID=1353

Earthwatch debate: From Tsunami to Drought
Thursday 19 November 2009

el4

Chaired by award-winning broadcaster and radio and television presenter, Andrea Catherwood, four enterprising speakers will outline their ingenious solutions to a looming crisis, before being interrogated Dragon’s Den style by a panel of experts. Entry is by ticket only. Free to students and current Earthwatch donors; otherwise a donation will be requested on the door. The debate will be followed by an optional buffet supper with wine, £25.

?Time: 7pm-9pm
Venue: Royal Geographical Society, 1 Kensington Gore, London SW7 2AR
Website: www.earthwatch.org/europe

Copenhagen Benefit Party
Thursday 19th November 2009

This Thursday a night of Dj’s are putting on some tunes at Passing Clouds, This event hopes to raise money to fund Activism Costs whilst out there so we can ensure each and everyone of us is able to come together and unite in Copenhagen. £5 on the door
Time: 8pm
Venue: Passing Clouds, 440 Kingsland Road, Dalston, London E8

Shared Planet
Saturday 20th-22nd November 2009

el3

Join hundreds of young people to get informed, learn skills and share ideas to tackle the problems facing our generation. The evnent offers the chance to come together with young people from all over the UK. Learn skills, find positive solutions and hold our leaders to account for a just and sustainable future for our generation. There will also be speakers, workshops, debates, films and stalls.

Venue: University of Manchester & Manchester Metropolitan
Website: http://peopleandplanet.org/

Operation Bike Block opens
Tuesday 17th – Sun 22 November 2009

The Laboratory of Insurrectionary Imagination and Climate Camp are plotting together to design and build a new tool of civil disobedience for the RECLAIM POWER mobilisations taking place in Copenhagen, during the UN climate summit in December. Made from hundreds of recycled bikes, The Bike Bloc will merge device of mass transportation and pedal powered resistance machine, postcapitalist bike gang and art bike carnival. The Laboratory of Insurrectionary Imagination’s installation is open throughout the week in preparation for the following week’s workshops. Visitors are invited to start imagining their own rebel bike contraptions and leave their plans and sketches in the space.

Time 10am – 6pm
Venue: Arnolfini 16 Narrow Quay, Bristol BS1 4QA
Website: http://www.arnolfini.org.uk/

Categories ,Age of Stupid, ,Amnesty International, ,arnolfini, ,bike bloc, ,Climate Camp, ,Climate Change, ,community, ,copenhagen, ,Earthwatch, ,First nation, ,listings, ,passing clouds, ,RBS, ,shared planet, ,The Laboratory of Insurrectionary Imagination

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Amelia’s Magazine | Exhibition: 400 Women at Shoreditch Town Hall

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photography by Eva Edsjö.

http://www.alisonday.nl

That is a really big sound coming from such a small woman, page dosage I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, sale tinkering with her microphone and ignoring the hustle of her fellow musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston http://www.flickr.com/james_ormiston/

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November here. The new album, Golden Sea, is out now on Bella Union.

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photography by Eva Edsjö.

http://www.alisonday.nl

That is a really big sound coming from such a small woman, buy I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston http://www.flickr.com/james_ormiston/

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November here. The new album, Golden Sea, is out now on Bella Union.

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, troche I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, ambulance I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, look tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, medical I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, page I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, doctor tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, price I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, physician I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, visit web I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, more about I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, information pills tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, price the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.

Rosa Virginia Hernández Caro (31), no rx by Sadie Lee

A new exhibition in the basement of Shoreditch Town Hall aims to highlight the brutal murders of over 400 women in the Mexican town Ciudad Juarez. A range of artists have been brought together over five years by Tamsyn Challenger, pills an artist herself, who was inspired to take action after a visit to the region.

So far 175 artists have contributed to the project, which now acts as confrontational group of portraits. Each work is 14″x10″ (apart from a few exceptions) which is much smaller than I had imagined. The size echoes the retablo, meaning ‘behind the altar’ – a nod to iconic Catholic imagery which still holds so much power in Mexico.

Artists such as Maggi Hambling, Tracey Emin and Paula Rego have lent their skills.


Brenda Patricia Meléndez Vásquez (14), by Ilinca Cantacuzino, and Barbara Araceli Martinez Ramos, by Maggi Hambling

It seems totally inappropriate to single out any particular artists or pieces that I favoured in any way, which seems was the objective from the start. Works are presented anonymously; it’s only by corresponding the chalked number on the floor underneath the works to the handout that you discover who painted each woman. The pamphlet also provides information about the subjects such as their age and, distressingly, whether they are missing or how they were murdered. On the launch night there were the odd pair sprinting around for No. 51 (Tracey Emin) and No. 130 (Maggi Hambling) but the focus is on the women rather than the artists with each image displaying their names. In fact, because of the nature of the crimes and the fact that most of the victims were from impoverished families, some of them don’t even have a photograph from which the artist could have worked. Some of the works – a pair of shoes, a pendant necklace, embossed metal – bear only the name simply because that’s all the artists had to work with.


Erendira Ivonne Ponce Hernández (17), by Phil Cath

Some were underwhelming, some were so moving they reduced me to tears. The gallery is the perfect setting for such an exhibition with its dark alcoves and myriad of rooms, but the opening night was absolutely heaving and it was impossible to see all of the works up close. This might be a good thing.

I caught up with Tamsyn to find out a little more about the project.

How did the 400 Women project come together?
On a flight home from Mexico in 2006 I had almost laid out in my mind the parameters for the concept behind 400. Initially, when I got home I set about trying to source imagery. This actually took a very long time but after help from Rupert Knox at Amnesty International I connected up with Marisela Ortiz who runs one of the mothers groups in Juarez and she sent the bulk of photos of the disappeared and murdered. I then, basically, cold-called artists I like and respect and invited them to collaborate on the project. If they said yes, I would make little connections with the artist to the woman or girl I chose for them. I’d also give them a small amount of information about their woman depending on the artist; as you can imagine some of the info is pretty grisly and I was very aware that I was asking each artist to describe a difficult thing. I was only prescriptive about the sizing because it was vital that the artist had free reign so that each work was individual.

What does 400 Women hope to achieve?
The idea for me is reliant on each artist representing the woman they’ve been given, in some way bringing her back. My hope is that unlike the easy way in which each of these women’s lives have been disposed of, the 400 Women works won’t be so easily disregarded. The importance we bestow upon objects is, of course, a tragedy and irony of our existence and is embedded in the concept. Ciudad Juarez has become an open wound, a region synonymous with gender violence, but ideally, I would like 400 Women to stand for gender violence globally. The 1 in 4 women that suffer domestic violence in this country and the US is a statistic I often think of and one that I wish we would stop putting into shadow and confront.


Elena Guadian Simental (19), by Julie Bennett

What will happen to the portraits when the exhibition finishes?
We anticipate the project will tour to the US and I would love to see it in Mexico eventually.

Will 400 Women continue to develop as an art project as well as a cause?
Potentially. I’ve dedicated five years to the project so far and up until this year have been working in isolation on it, except the other artists! The project is now partnered with Amnesty and I know that they are planning an event next year based around the work. The action cards they have produced to accompany the project are excellent and can be picked up when you visit the project in Shoreditch. These go directly to the Mexican Federal Government to request they take some action to stop the gender violence in Ciudad Juarez.

Has the opening been a success?
I’m not sure that’s for me to say, but here’s a photograph from outside…

400 Women runs until the 28th November. Get all the information in our listings section.

Categories ,400 Women, ,Amnesty International, ,art, ,Ciudad Juarez, ,interview, ,Julie Bennett, ,Maggi Hambling, ,Marisela Ortiz, ,mexico, ,painting, ,Paula Rego, ,Phil Cath, ,Rupert Knox, ,Sadie Lee, ,Shoreditch Town Hall, ,Tamsyn Challenger, ,Tracey Emin, ,women

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Amelia’s Magazine | Exhibition: 400 Women at Shoreditch Town Hall

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photography by Eva Edsjö.

http://www.alisonday.nl

That is a really big sound coming from such a small woman, page dosage I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, sale tinkering with her microphone and ignoring the hustle of her fellow musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston http://www.flickr.com/james_ormiston/

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November here. The new album, Golden Sea, is out now on Bella Union.

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photography by Eva Edsjö.

http://www.alisonday.nl

That is a really big sound coming from such a small woman, buy I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston http://www.flickr.com/james_ormiston/

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November here. The new album, Golden Sea, is out now on Bella Union.

Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, troche I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing their own soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ exclaims Anna as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together.’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’. Anna sings:‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. You mean the music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are an expression of herself, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have missed it.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, ambulance I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, look tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, medical I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, page I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, doctor tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, price I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, physician I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, visit web I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, more about I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, information pills tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, price the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.

Rosa Virginia Hernández Caro (31), no rx by Sadie Lee

A new exhibition in the basement of Shoreditch Town Hall aims to highlight the brutal murders of over 400 women in the Mexican town Ciudad Juarez. A range of artists have been brought together over five years by Tamsyn Challenger, pills an artist herself, who was inspired to take action after a visit to the region.

So far 175 artists have contributed to the project, which now acts as confrontational group of portraits. Each work is 14″x10″ (apart from a few exceptions) which is much smaller than I had imagined. The size echoes the retablo, meaning ‘behind the altar’ – a nod to iconic Catholic imagery which still holds so much power in Mexico.

Artists such as Maggi Hambling, Tracey Emin and Paula Rego have lent their skills.


Brenda Patricia Meléndez Vásquez (14), by Ilinca Cantacuzino, and Barbara Araceli Martinez Ramos, by Maggi Hambling

It seems totally inappropriate to single out any particular artists or pieces that I favoured in any way, which seems was the objective from the start. Works are presented anonymously; it’s only by corresponding the chalked number on the floor underneath the works to the handout that you discover who painted each woman. The pamphlet also provides information about the subjects such as their age and, distressingly, whether they are missing or how they were murdered. On the launch night there were the odd pair sprinting around for No. 51 (Tracey Emin) and No. 130 (Maggi Hambling) but the focus is on the women rather than the artists with each image displaying their names. In fact, because of the nature of the crimes and the fact that most of the victims were from impoverished families, some of them don’t even have a photograph from which the artist could have worked. Some of the works – a pair of shoes, a pendant necklace, embossed metal – bear only the name simply because that’s all the artists had to work with.


Erendira Ivonne Ponce Hernández (17), by Phil Cath

Some were underwhelming, some were so moving they reduced me to tears. The gallery is the perfect setting for such an exhibition with its dark alcoves and myriad of rooms, but the opening night was absolutely heaving and it was impossible to see all of the works up close. This might be a good thing.

I caught up with Tamsyn to find out a little more about the project.

How did the 400 Women project come together?
On a flight home from Mexico in 2006 I had almost laid out in my mind the parameters for the concept behind 400. Initially, when I got home I set about trying to source imagery. This actually took a very long time but after help from Rupert Knox at Amnesty International I connected up with Marisela Ortiz who runs one of the mothers groups in Juarez and she sent the bulk of photos of the disappeared and murdered. I then, basically, cold-called artists I like and respect and invited them to collaborate on the project. If they said yes, I would make little connections with the artist to the woman or girl I chose for them. I’d also give them a small amount of information about their woman depending on the artist; as you can imagine some of the info is pretty grisly and I was very aware that I was asking each artist to describe a difficult thing. I was only prescriptive about the sizing because it was vital that the artist had free reign so that each work was individual.

What does 400 Women hope to achieve?
The idea for me is reliant on each artist representing the woman they’ve been given, in some way bringing her back. My hope is that unlike the easy way in which each of these women’s lives have been disposed of, the 400 Women works won’t be so easily disregarded. The importance we bestow upon objects is, of course, a tragedy and irony of our existence and is embedded in the concept. Ciudad Juarez has become an open wound, a region synonymous with gender violence, but ideally, I would like 400 Women to stand for gender violence globally. The 1 in 4 women that suffer domestic violence in this country and the US is a statistic I often think of and one that I wish we would stop putting into shadow and confront.


Elena Guadian Simental (19), by Julie Bennett

What will happen to the portraits when the exhibition finishes?
We anticipate the project will tour to the US and I would love to see it in Mexico eventually.

Will 400 Women continue to develop as an art project as well as a cause?
Potentially. I’ve dedicated five years to the project so far and up until this year have been working in isolation on it, except the other artists! The project is now partnered with Amnesty and I know that they are planning an event next year based around the work. The action cards they have produced to accompany the project are excellent and can be picked up when you visit the project in Shoreditch. These go directly to the Mexican Federal Government to request they take some action to stop the gender violence in Ciudad Juarez.

Has the opening been a success?
I’m not sure that’s for me to say, but here’s a photograph from outside…

400 Women runs until the 28th November. Get all the information in our listings section.

Categories ,400 Women, ,Amnesty International, ,art, ,Ciudad Juarez, ,interview, ,Julie Bennett, ,Maggi Hambling, ,Marisela Ortiz, ,mexico, ,painting, ,Paula Rego, ,Phil Cath, ,Rupert Knox, ,Sadie Lee, ,Shoreditch Town Hall, ,Tamsyn Challenger, ,Tracey Emin, ,women

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