Here is some of what the press has had to say (for more ‘clippings’ see Some of my areas of Impact….)
This is a timely and important book that expertly combines personal narrative with nuanced theoretical analysis. Black Scholarly Activism between the Academy and Grassroots is a deeply engaging work that urges the reader to consider the possibilities and challenges facing academics who work towards social justice. Once picked up, this is a difficult book to put down: a must read
Reviewed by Dr Remi Joseph-Salisbury, Leeds Beckett University, UK
The book is insightful and provides a different scope on racialized discourse from a praxis perspective and its appeal to community workers provides an inclusive attempt to engage audiences outside of academia. The book also offers a very interesting point of departure particularly regarding the exploration of Community resistance in a neoliberal post-truth era. The situating of this chapter within a post-truth context and why activism is needed to disrupt this is powerful
Reviewed by Dr Jason Arday, University of Roehampton, UK
Clennon, O.D. (2018) Black Scholarly Activism between the Academy and Grassroots: A Bridge for Identities and Social Justice. Basingstoke: Palgrave Macmillan.
Clennon, in particular, is to be congratulated for making the critical intellectual effort to try and wrestle theoretically with how James might have made sense of the contemporary critical moment in Britain, amid ‘Brexit’ and the rise of Corbynism.
Reviewed by Dr Christian Hogsbjerg, University of Brighton
The field of CLR James is much ploughed, but Clennon has provided us with a deeply researched study, with James’s political activism as its focus. James, the scholar-activist, was always concerned to bridge the divide between theory and practice, while many of his commentators have dealt with either one or the other. By using his own James-influenced political activism as part of a research template, Clennon’s important book is very much the work of a scholar-activist attuned to our own times.
Reviewed by Professor Kenneth Surin, Duke University
Clennon, O.D. (2017) The Polemics of CLR James and Contemporary Black Activism Basingstoke: Palgrave Macmillan.
This is a fantastic book which expertly uncovers the intersections of capitalism, culture and race in the contemporary world. Ornette Clennon’s solid and sophisticated analysis provides space for young people to critique and reclaim their lifeworlds.
Reviewed by Dr. Robbie Shilliam, Reader in International Relations, Queen Mary College, London
Clennon, O. D. (2015). Urban Dialectics, The Market and Youth Engagement: The ‘Black’ Face of Eurocentrism? New York: Nova Science Publishers
This book asks some important questions about how we are to understand multi-culturalism, its politics and practice in an international context. It asserts that multiculturalism and relation to the state raises critical political and ethical questions.
Reviewed Dr Bridget Byrne, The University of Manchester, Sociology, Faculty Member
Clennon, O. D. (Ed and main contributor) (2016). International Perspectives of Multiculturalism The Ethical Challenges. New York: Nova Science Publishers.
…a truly original and eclectic collaboration…
Halle, (2013) ONLY YOU 2.0 – WHERE DUBSTEP MEETS GAMELAN Captivating Halle [website] Thursday 30th May.
…the perfect antidote for a Sunday morning hangover. The whole set stretches his vocal range and highlights his undoubted ability
Sykes, D. (2003) Sunday 20/07/03 Revelation, I Pinata, The Veils, Bell X1 @ Roadhouse, Manchester. Gigwise, Sunday March 27th [Revelation X]
…in The Listeners, Clennon’s score is variously melodic, but distraught; airs slide and are stretched with jazzy inflections or bursts of dissonance…
Brennan, M. (2000) Dance: Tabula Rasa, Brunton Theatre, Musselburgh. The Herald, Sunday March 4th. [The Listeners]
Ornette D Clennon’s atmospheric and dissonant score live on stage, this is easily the highlight of the evening
Dibdin, T. (2000) Working in the Shadows. The Stage, Thursday March 9th. [The Listeners]
…Ornette Clennon’s score was much more complex…..because it’s completely original
Morris, D. (2000) The next fortnight sees the premieres of three new works, writes Don Morris. The Scotsman, Wednesday February 16th [The Listeners]
a more assured sense of purpose now emerging in his work
Mathieson, K. (1996) Emperor String Quartet, Queen’s Hall, Edinburgh. The Herald: Sunday Herald, Thursday March 21st [What has happened to all that Beauty for string quartet, soprano and live electronics]
’What has happened to all that Beauty’ took everyone’s breath away…Teaming soprano with four strings was sanctified in Schoenberg’s Second Quartet. It can rarely have been so vividly deployed since
Morton, B. (1996) Fresh, new and yet strangely familiar. Spectrum (The Scotsman), Sunday March 24th. [What has happened to all that Beauty for string quartet, soprano and live electronics]
Buoyed up by the success of their debut concert last autumn, the One Voice Ensemble is set to continue making an impression on the contemporary music scene.
Main, C. (1995) Distinctive Voice. The List, April 21st (Issue 251)
One Voice have perhaps made Scottish musical history (Classical Music magazine), Warmth of musical expression achieved with One Voice (Scotland on Sunday), Good and committed (Scotland on Sunday), Nice (The Herald)
Wiggins, G. (1995) One Voice: Conflict and Unity Concert
The One Voice New Music Ensemble is a new Scottish-based contemporary music group, which makes its formal debut at the Queen’s Hall. The concert will include music by three of the co-founders, Jeremy Cull (who is also the ensemble’s musical director), Geraint Wiggins and Ornette D Clennon….’We came out of a student grouping but we decided that we wanted to expand the concept, and we felt that Edinburgh should have a group with a distinct identity. We are trying to create a high-quality ensemble for the promotion of new music, which will provide a platform for our own music and for other composers in Scotland, as well as for music not usually heard here’
Mathieson, K. (1994) Sounding Together. The List, September 23rd (Issue 237)
One Voice is a new ensemble, based in Scotland, and dedicated to the social application of contemporary music…..”Why?” by Ornette D. Clennon is written in direct response to the Rwanda crisis. The concert is also launching One Voice’s debut CD, which, like the concert, is raising money for the International Red Cross Rwanda Appeal.
Wiggins, G. (1994) One Voice: Concert for Rwanda
Ornette Clennon’s orchestral score soared up behind like blasting a sunrise. It’s the sort of music wild dreams are made out of – human, moving, avant-garde, ancient, radical as hell
Osborne, N. (1992) A Celebration of Cultures, Glasgow 11 February – 23 April 1991. In Strugnell, S. (ed.). Scottish Chamber Orchestra Yearbook, Iss. 91/92. [Miniature I for chamber orchestra, soprano, mixed voices and monochord]
…Hidden Song by Ornette Clennon …imaginative and beautifully prepared
Miller, M. (1991) Party Atmosphere. The Scotsman, Wednesday December 18th. [Hidden Song for string quartet]