Start the Week Folgen

On Start the Week Andrew Marr looks back to the end of Empire when government officials systematically destroyed the records of imperial rule, and he explores the impact of outside organisations on a nation's ability to govern. The journalist Ian Cobain has uncovered details of the mass bonfires of sensitive official papers across Africa, which subverted the legal obligation to preserve important historical records. Edna Adan Ismail first came to Britain in the 1950s to train as a nurse before championing women's rights and health at the WHO and in her native Somaliland. She explains how the self-declared independent state of Somaliland, once a British protectorate, has been fighting for international recognition for the last 15 years. Baroness Amos has worked in international affairs both for the government and the UN. Now as the head of SOAS University she says it's vital to think about the world differently, from the perspective of the countries themselves. Keith Somerville has investigated the illegal ivory trade in Africa and argues that regulation - not prohibition - is the best way to stop uncontrolled poaching and smuggling. Producer: Katy Hickman.

On Start the Week Amol Rajan considers the making of the British landscape and an island mentality. The President of the Royal Geographical Society Nicholas Crane looks back over the last 12 millennia to understand how we have shaped our habitat but also how the landscape has shaped our lives. Madeleine Bunting travels through the Hebrides to see what the furthest reaches of these isles can tell us about the country as a whole. David Olusoga re-tells the story of the relationship between Britain and the people of Africa, which reaches back to the Romans, to demonstrate how black history has shaped our world, and the poet Imtiaz Dharker reflects on displacement and belonging. Producer: Katy Hickman.

On Start the Week Andrew Marr hears stories of virtue and vice. Lucy Bailey is directing Milton's Comus, a masque in honour of chastity, in which a Lady, lost in the woods, is tempted by pleasure. In Berg's opera Lulu the eponymous heroine appears to be the epitome of seductive pleasure, an amoral seductress, but William Kentridge's production questions how much she is the real victim. The academic Simon Goldhill charts the transition from the high Victorian period into modernity through one family's relationship with sex, psychoanalysis and religion, while the very modern preoccupation with therapy is laid bare, as Susie Orbach reveals what happens behind the therapist's door.Producer: Katy Hickman.