African Stories in Hull and East Yorkshire Project: Laureen Sylvestre

October is Black History Month in the U.K., so, with the permission of Cleo Sylvestre (aka Honey B Mama), and the African Stories in Hull and East Yorkshire Project, we share this story of herstory, triumph, power, and love.

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A wedding whilst on tour in Belfast. Laureen is in the second row between the Bride and Groom

In 1983, a few weeks before she died of cancer, my mother told me that she had been brought up in a children’s home. As we were very close, this came as a complete surprise because she had always led me to believe that she had been brought up by her grandmother. When I asked her to elaborate she wouldn’t, but said she’d never told me before as she thought it would upset me.

Eight years later, I was appearing at the Theatre Royal in York. An article appeared in the local newspaper and members of my mother’s family contacted me. Through them I discovered that there was more to her life than I had ever imagined. Not least, I began to discover what it must have been like to grow up as a mixed-race, illegitimate child in a Yorkshire village during the early part of the last century. I also began to reconsider the history of Black people in Britain. Historically, it is generally believed that Black people arrived in Britain in the 1950s yet, as a child growing up in London during the 50s, all the ‘coloured’ people I knew had been born here.

​This is my mother’s story.


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Laureen at Nidd School – third row up.

Winifred Laureen Goodare was born 19 February 1911 at 37 Peel Street, Hull and was baptised at St Paul’s Church on 23 March 1911. Her mother, Jessie Goodare, was 22 years old and lived at 16 Ellen’s View, Goole. According to the census Jessie was a variety artist, earning 4/- (shillings) a week. Laureen’s father was unknown. There is little mention of him in her file from the Children’s Society, although at one point he is referred to as “probably an African.”

On 30 March 1911 she was admitted to All Saints Nursery College, Harrogate. Laureen was described as healthy, good tempered and attractive with nice habits and as having a foreign appearance and being very dark. She was accepted by the Society on 14 August 1912 and was boarded out with a foster mother, Mrs. Mary Dinsdale of Burnt Yates, Harrogate.

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Report from Children’s Home

In January 1917 Laureen was removed from Mary Dinsdale’s care as the foster mother felt that the responsibility of looking after a young child was becoming too much for her in her old age. Laureen went to live with another foster mother who lived nearby but missed Mary Dinsdale and repeatedly ran back to her. As a result it was decided to remove her to St Margaret’s home, Nidd and she was admitted on 14 February 1917. A letter of 26 February 1917 describes her as happy and settled.

It was common practice for the supporters of the Society to sponsor named children. They would often select a child from a group of candidates presented to them by the Society and would receive chatty reports of their protégee’s progress as well as a photograph. In May 1922 Laureen was the beneficiary of money donated by Mrs. Carrie Bennett of King’s Bromley, Lichfield. She had lost her little girl in December 1919 and sent money on the anniversary of the child’s birthday in April. Mrs. Bennett could not guarantee regular donations but was anxious to help Laureen as much as she could. She included extra donations to help buy the child nourishing food as she was recovering from scarlet fever in May 1922. Laureen had spent over a month in an Isolation Hospital returning to St Margaret’s on 1 June 1922. When the supervisor of St Margaret’s was writing to the Society authorities about the sponsor money in May 1922 she described Laureen as a “fascinating clever pickle and a clean, pure, lovable girl.”

On 3 August 1926 she left St Margaret’s to go into service with Mrs. Gethin, Cayton Hall, South Stainley near Harrogate. Her wages were £18 per year.

In January 1930 Laureen was back at St Margaret’s helping in the kitchen. A letter dated

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Laureen’s birth certificate

24 January from Mr. J H Hayers, the Secretary of the Ripon-Wakefield and Bradford Branch to Revd. A J Westcott, the Secretary of the Waifs and Strays Society stated that she was determined to join a coloured troupe of dancers. Laureen had had difficulty in Yorkshire with the public making remarks about her colour and this influenced her decision to seek employment elsewhere in the country.

On 14 April 1930 Mr. Hayers reported that Laureen had communicated with a Mons Paul, an illusionist, and had made arrangements to work as his assistant in Bognor  and then for a season at Morecambe. After that she traveled with him to Cork, Ireland.

Having fulfilled her engagements with the troupe, Laureen moved to London where, in 1931, she worked in a coffee shop in Aldgate.  Later that year she took up service again for a Jewish family (The Kauffmans) in North West London, remaining in contact with them until the 60s. As a child I remember that she would cook the most delicious Jewish food, which she had probably learnt from them.

Determined to enter show business, Laureen studied tap in London under Buddy Bradley a well known American dancer and choreographer and started working on ‘coloured’ shows as a chorus girl touring around the UK. Once, when she was in a show in Cork, she was approached by a very old woman who said “Jesus, I haven’t seen one of my own kind for years.”

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Laureen working for the Kaufmanns

Laureen was based in London and started working at the Shim Sham Club. The Shim Sham was a popular night club in Wardour Street, Soho. It was frequented by the likes of Edwina Mountbatten, the Italian boxer Primo Carnera and musicians playing there included Fats Waller, Nat Gonella and Garland Wilson.  Laureen worked there as cigarette girl and also danced in cabaret as one of the four ‘Chocolate Drops.’ She told me that once when people got up to dance, they would stub out their cigarettes, even if they had only taken a couple of puffs. Laureen would collect them and on her way home would take them to the homeless people who congregated under Hungerford Bridge. It was whilst working at the Shim Sham that she met the conductor Constant Lambert. They began a long affair and friendship which lasted until his untimely death in 1951. During the war she volunteered as a Firewatcher and was based in Manchester Square, London.

In 1944 she married Owen Oscar Sylvestre from Trinidad, a Flight Sergeant in the Air Force, who came to England to fight in the war. Owen had been awarded the DFM which  was  awarded to non-commissioned officers and men for exceptional valor, courage or devotion to duty while flying in active operations against the enemy.

On 19 April 1945, she gave birth to a daughter. I was named Cleopatra Mary. Constant

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Laureen and Cleo, 1951

Lambert wrote to Laureen asking if he could be  my godfather, which indeed he became.

Laureen’s marriage to Owen was somewhat rocky. Like many other service personnel from what was then known as, ‘the Colonies’, Owen was unable to find employment with a commercial airline company, so he enrolled at the LSE (London School of Economics). However, he developed a passion for gambling which eventually destroyed the marriage and he and Laureen divorced in 1955.

Throughout the marriage Laureen worked in various jobs from catering at Bridge parties to cleaning, and when I started school in order to be with her during the holidays, she became an artist’s model working in various Art’s Schools such as The Slade, Sir John Cass, Chelsea and Guildford. Although having left formal schooling at an early age, she was exceptionally well read and attended adult education classes throughout her life. She studied French, recorder, upholstery, pottery and in her 60s took on a new challenge of silver jewellery making. By then I had begun my career as an actress and Laureen’s jewellery proved to be very popular- getting commissions from my colleagues both at The National Theatre and Young Vic.

Laureen Sylvestre

Laureen Sylvestre

In 1960 Laureen developed breast cancer, and, worried that Cleo would be left orphaned, wrote to the Registrar in Hull trying to find any members of the Goodare family. As a result she managed to contact a brother of Jessie (her mother). He was living in Goole with his wife and family and invited us to stay. We received a warm Yorkshire reception and Laureen met many cousins for the first time. Through them she learnt that her mother (my grandmother) had married, then emigrated to America where she set up a dancing school. She never had another child and although she would send money back to England for her nieces and nephews, she never remembered her own daughter Laureen. It was said that one of her dance pupils was Ginger Rogers, but we haven’t yet been able to prove it.

Laureen’s culinary skills stayed with her. She would easily prepare a Chinese meal for 12 or more in the tiny kitchen of the council flat where we lived near Euston. As a teenager when I discovered a passion for the Blues and started going to music clubs, she would rustle up food for various ‘poor’ musician friends I brought home, including Brian Jones (of the Rolling Stones) and his girlfriend Linda, Mick Jagger and Long John Baldry amongst others.

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Zoe Palmer

In 2014, Laureen’s granddaughter (my daughter) Zoe Palmer, won a seed commission to begin a piece based on Laureen’s life called Fosterling. This work-in-progress was performed at Ovalhouse Theatre in London to great acclaim and at some stage we hope it will have another life.


Cleo Sylvestre

Cleo Sylvestre

Nappily Ever After Review: It’s Not for Everyone

It was Coco Chanel who said, “A woman who cuts her hair is about to change her life”.  For Sanaa Lathan’s character, Violet, in Netflix’s Nappily Ever After, truer words have never been spoken. Nappily Ever After is a romantic comedy, reminiscent of the 90’s formulaic romantic dramedy, about a very successful yet deeply shallow woman who shaves her head after a break-up and begins her own journey of growth and self-actualization. She meets a man that gives her the love she has been longing for and they ride off into the sunset at the end. If that synopsis sounds like it could be about any romantic comedy, well that’s because this movie was just like any romantic comedy. There was nothing impressive about it; we’ve seen this story many times before, but executed in a better way. The acting was sub-par-we’ve seen better performances from these actors in other films. There were also some pretty glaring plot holes that made certain scenes seem disconnected from the story.  

 

Now, I’m not saying this was a bad movie, it was just predictable and underwhelming compared to all the hype that surrounded it. It’s not surprising that it took so long for this story to migrate from book to film. I mean, Universal Studios has owned the rights to the film since 2003. They previously secured Halle Berry as the lead, and with that star power alone the movie should be successful, right? I guess not because they dropped it and now we may know why.

 

Maybe if the writing was stronger, maybe if Lynn Whitfield didn’t overact as Violet’s bougie mother, maybe if they didn’t use a man to help Violet realize her own worth, it would be better, and what is that about? Why is it that in all of these movies a woman needs a new man for her to realize her worth? What is so bad about letting her figure it out all by herself? In the real world women are perfectly capable of going through emotionally distressing times without having a complete emotional breakdown, and if we do have an emotional breakdown we are perfectly able to crawl out of the hole of despair healthier, smarter, and stronger than before by our damn selves. We don’t always need a man to tell us our worth. We just need a few good friends, our mama, that one auntie that keeps it real, and God to give us support.

 

Let me just step down from my soapbox and continue my review. We will save those arguments for another day. As I was saying, the movie could have just been better all around. I honestly believe this movie has a very specific demographic and I just don’t fit into it. Personally, I feel if someone liked the movie, they are probably in their late 30s to early 60s, African American, and a heterosexual woman. Or, they are all of those things except they are the only white woman in their friend group. They remember going to the theatres to see, Waiting to Exhale, The Best Man, The Wood, or the one and only How Stella Got Her Groove Back. They really like Tyler Perry movies and maybe a few of his shows, but they definitely remember when he was writing plays-before Oprah launched his career. They might even have some of the plays on DVD, like my sister. There is nothing wrong with any of that. They like what they like and this movie was made just for them. To entertain them and give them a break from everything else that’s going on in the world. That’s great, I’m happy they enjoyed it; but for the rest of us, it missed the mark.

 

Written by Liz Bennett

‘BlacKkKlansman’ Review: Did Spike Lee Sell Out?

BlacKkKlansman was Spike Lee’s way of getting white people to like him again”, was my brother’s response when I told him I had just watched BlacKkKlansman. I was highly offended by his statement but I blew it off knowing he isn’t the film connoisseur, that I am.  Or, maybe that was the excuse I made for his completely ridiculous statement. Either way, I will say since the movie’s release I’ve noticed that many others in the black community share my brother’s opinion — that Spike Lee is pandering to a white audience; but with a story like this, shouldn’t he?

For those of you who haven’t seen the film, I’ll give you a short synopsis. Based on the memoir by Ron Stallworth, BlacKkKlansman is a dramedy set in the 1970s, about a black police officer, played by John David Washington. In an attempt to build his career as the first black police officer in Colorado Springs, Stallworth successfully infiltrates the Ku Klux Klan. With the help of Jewish police officer, Flip Zimmerman, played by Adam Driver, they expose the KKK’s potential violent plots, members who held positions in government, and their future plans for the “organization.”

The story in itself is quirky and funny, and Lee visually encapsulates the memoir perfectly.  Stylistically, the angles and the juxtaposition of shots, in addition to the transitions from scene to scene, this film had a different feel and quality than Lee’s other joints. It has a sort of Wes Anderson feel with a Spike Lee twist. Maybe that’s what made this movie seem so different; to some, like he “sold out,” but this movie wasn’t made for black audiences. This movie was an announcement, and an exclamation of what black people have been screaming for decades: That white supremacist (terrorist) groups, like the KKK, have infiltrated multiple government agencies, lobbyist groups, and positions of power to preserve the institutional racism that continuously, consistently, and historically oppressed  citizens of color. This is not a message that people of color need to hear. This is not a lesson that people of color need to learn. We know it all too well. This is a story for white people.

What helps push the message of irrational entrenched tribalism throughout the film is Topher Grace’s convincing portrayal of Grand Wizard David Duke. David Duke is one of the driving forces who helped change the public persona of the KKK. Topher Grace has a likeability factor, an unobtrusiveness that made him perfect for this part, that no matter what hateful word came out of his mouth, there was still something likable about him. That is what made David Duke, David Duke. Duke made racism seem more palatable for the masses. It becomes obvious in the film how important Duke’s new branding message for their organization is to the members through the special measures they take to safeguard the privacy of the club and it’s members. They stop calling themselves the KKK in public and discuss termination of the old tradition of cross burning among other things (no spoilers here folks). But as we all know, that ritual hasn’t gone away.

Sometimes, as an artist, they have a responsibility to educate their audience, as well as entertain. This movie is not designed to appeal to all black audiences, but to white liberal ones. We know as a community that we need white allies to help support our fight for equality. This film reflects the reality of the purposeful maintenance of the status quo, separate but inherently unequal for citizens of color. The white liberal politician sitting in the audience has the ability and resources to make a change at a higher level. If this was Spike Lee’s intention, then yes, he should cater to white audiences, but that doesn’t mean that black audiences shouldn’t see this movie. It’s a great story and it’s a joy to watch. I don’t think anyone should count it out just yet.

 

Written by Liz Bennett

CBIFF is Taking it Up a Notch

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Join the Columbus Black International Film Festival as we merge artistic styles of poetry and music. We will feature, Izetta Nicole Spoken word and emcee, DJ Pastel and Columbus’ own T.Wong. Buy your tickets now, they will inflate at the door.

Columbus, Ohio native DJ Pastel started her journey of djing in 2010. Being an avid listener and fascinated with music since her early childhood years it was easy for her to integrate seriously into this domain. Her first event was at Social Room in Columbus’s Downtown Arena District where she became the house Dj for Thursday nights.

With 6+ years of experience, Pastel has Dj’d at hundreds of private parties and weddings along with some of the hottest clubs and bars too!! Open to all genres of music Pastel has extensive knowledge of music along with her song library of over 25,000 songs.

T.WONG
(pronounced Tee-wän)
As unique as the name, the sound and style is equally as unique. Singer-songwriter, T.Wong, offers an experience. Since the release of his EP, Dreamin’ In Motion (2014), and Debut Album, Journey (2015), he has been likened to acclaimed artists like Frank Ocean and Lenny Kravitz, as his sound transcends listeners to an alternate space.
Traversing different spaces is T.Wong’s ode as he embraces all his worlds as one as artist, entrepreneur, and brand. Entwined with the world of music, he is one of two owners of a Black-owned law firm in Ohio. In his legal capacity, he represents a myriad of clients ranging from enterprises to artists. Further, T.Wong acts in the capacity of a private counselor, mentor, and facilitator.