Free Thinking Folgen

Blind, and with his hair cut and his strength shorn - in Milton's dramtic poem Samson has already been betrayed by Delilah. It goes on to explore ideas about violence , revenge and tragedy. Published on May 29th 1671 alongside Paradise Regained, Milton's notes show that he started thinking of ideas for this work 30 years earlier. In 1741 Handel finished writing his version - a three act oratorio called Samson. Rana Mitter is joined by New Generation Thinker Islam Issa, music expert Professor Suzanne Aspden, poet Nuala Watt and classics expert Simon Goldhill to look at the poetic language of Samson Agonistes, the politics it was reflecting, the imagery of blindness and what Handel took from Milton's writing.Dr Islam Issa from Birmingham City University is a New Generation Thinker and author of Milton in the Arab-Muslim and Milton in Translation and Digital Milton. You can hear him presenting this recent Radio 3 Sunday Feature on The Balcony from Shakespeare to these Covid times https://www.bbc.co.uk/programmes/p0972325Professor Suzanne Aspden from the University of Oxford is the author of The Rival Sirens: Performance and Identity on Handel’s Operatic Stage and co-editor of the Cambridge Opera Journal.Professor Simon Goldhill from the University of Cambridge is the author of How to Stage Greek Tragedy Today and Love, Sex & TragedyDr Nuala Watt has written on the role of partial sight in poetics. Her poems have appeared in Magma and Gutter and her work is included in the anthology Stairs and Whispers: D/deaf and Disabled Poets Write Back (2017).Producer: Ruth Watts

Blind, and with his hair cut and his strength shorn - in Milton's dramtic poem Samson has already been betrayed by Delilah. It goes on to explore ideas about violence, revenge and tragedy. Published on May 29th 1671 alongside Paradise Regained, Milton's notes show that he started thinking of ideas for this work 30 years earlier. In 1741 Handel finished writing his version - a three act oratorio called Samson. Rana Mitter is joined by New Generation Thinker Islam Issa, music expert Professor Suzanne Aspden, poet Nuala Watt and classics expert Simon Goldhill to look at the poetic language of Samson Agonistes, the politics it was reflecting, the imagery of blindness and what Handel took from Milton's writing.Dr Islam Issa from Birmingham City University is a New Generation Thinker and author of Milton in the Arab-Muslim and Milton in Translation and Digital Milton. You can hear him presenting this recent Radio 3 Sunday Feature on The Balcony from Shakespeare to these Covid times https://www.bbc.co.uk/programmes/p0972325Professor Suzanne Aspden from the University of Oxford is the author of The Rival Sirens: Performance and Identity on Handel’s Operatic Stage and co-editor of the Cambridge Opera Journal.Professor Simon Goldhill from the University of Cambridge is the author of How to Stage Greek Tragedy Today and Love, Sex & TragedyDr Nuala Watt has written on the role of partial sight in poetics. Her poems have appeared in Magma and Gutter and her work is included in the anthology Stairs and Whispers: D/deaf and Disabled Poets Write Back (2017).Producer: Ruth Watts

Slavery and empire building shaped Liverpool's development. Can art works help give a new understanding of the city's history? In a discussion organised in partnership with the Liverpool Biennial, Anne McElvoy is joined by the Festival curator Manuela Moscoso, by the artist Xaviera Simmons, the historian Dr Diana Jeater and the composer Neo Muyanga. The Biennial runs from 20 March to 6 June 2021 with art works sited around the city.Neo Muyanga is a composer and sound artist whose work traverses new opera, jazz improvisation, Zulu and Sesotho idiomatic songs. His project A Maze in Grace is a 12'' vinyl record and a video installation at the Lewis’s Building, inspired by the song “Amazing Grace”, composed by English slaver-turned-abolitionist John Newton, who lived in Liverpool. The piece was co-commissioned by Fundação Bienal São Paulo, echoing some of the trading links which operated in the transatlantic slave trade.Xaviera Simmons has previously spent two years on a walking pilgrimage retracing the transatlantic slave trade with Buddhist monks. Her installation at the Cotton Exchange Building uses images and texts set against backdrops of the American landscape to explore ideas about "whiteness". It's co-presented by Liverpool Biennial and PhotoworksCurator Manuela Moscoso has worked at the Tamayo Museo in Mexico City and has come up with a framework for the Biennial -The Stomach and the Port- that uses the body as an image to think about the cityHistorian Diana Jeater, from the University of Liverpool, is also Emeritus Professor of African History at the University of the West of England, Bristol, and teaches themes that help understand African history such as witchcraft and territorial cults, healing systems, nationalist movements and religious institutions.Producer: Torquil MacLeodYou can find a playlist of programmes exploring the visual arts on the Free Thinking website, include discussions with museum curators held in partnership with Frieze Art Fair and interviews with artists including Michael Rakowitz, Taryn Simon, William Kentridge and Sonia Boyce amongst others https://www.bbc.co.uk/programmes/p026wnjlAnd our 2021 New Generation Thinker Vid Simoniti is hosting a podcast talking to some of the Biennial artists called Art Against the World which you can find here https://www.biennial.com/