Background
Michael Ohajuru (The John Blanke Project Director) - me and my friend Paterson Joseph ( Author of The Secret Diaries of Charles Ignatius Sancho and Actor/Playwright ) were invited to a weekend country house fancy dress history party. We both planned to go as 'our character' me as John Blanke and Paterson as Ignatius Sancho. At Paterson's suggestion we agreed to address a question we had been considering for some time - what would our two characters say to each other when they first met ? We came up with the idea of a play, I suggested giving the task of writing the play to AI using Chat GPT , as I had no time but have a subscription. What follows is the result.....
The ChatGPT Prompt
In order to brief ChatGPT I was required to give it a prompt. The input description of what I wanted and possible outcomes. As time was not my friend, I decided to keep the prompt brief:
Please write my a witty 5 minute play describing the first meeting between John Blanke and Ignatius Sancho.
The Result
Ignatius Sancho and John Blanke: A Surprising Revelation
Complete Script
Scene: A cozy 18th-century London tavern, the air filled with the soft hum of conversation and the clinking of mugs. The fire crackles warmly in the hearth as two remarkable figures meet for a lively discussion.
Ignatius Sancho : (grinning) Master Blanke, tis a delight to make thy acquaintance. I've heard wondrous tales of thy trumpeting at the royal courts. Pray, how didst thou find favour with the king?
John Blanke: (chuckling) Good Master Sancho, the pleasure is indeed mine. Playing for King Henry hath its rewards, though the monarch’s temper is like the weather in London—changeable and often stormy. But tell me, Ignatius, I have heard rumours that thou hast recently voted in an election. Is it true? A black man casting a vote? Ignatius Sancho: (smiling) Aye, John, it is true indeed! I had the honour of casting my vote in the recent election. Tis a right I hold dear. John Blanke: (astonished) Truly? In my day, I could not fathom such a thing. If I had any grievance or request, I would have to petition the king directly. Voting was beyond imagination. Ignatius Sancho: (nodding) Times have changed, my friend. Though it is not without its challenges. The right to vote was hard-won and not without resistance. But it is a sign of progress, however slow. John Blanke: (laughing) I remember once petitioning King Henry for a raise in my stipend. I thought it a bold move, but I had no other recourse. Thankfully, the king was in a good mood that day. He granted my request, though not without a jest. Ignatius Sancho: (curious) Oh? What did His Majesty say? John Blanke: (grinning) He said, “John, thy trumpet may be loud, but thy courage is louder still. Very well, thy stipend is raised—but pray, do not play louder in gratitude!” Ignatius Sancho: (laughing) A fine jest indeed! It seems kings and jesters are often cut from the same cloth. But tell me, John, how didst thou find the courage to petition the king directly? John Blanke: (thoughtful) Necessity, I suppose. When one has no other means, one must be bold. Besides, I always believed that if my music could move the hearts of men, perhaps my words could too. But this voting business, it intrigues me. How didst thou come by this right? Ignatius Sancho: (smiling) It was through persistence and the support of good friends. I was fortunate to have patrons who valued my contributions. They helped me gain the property qualification needed to vote. It is not a perfect system, but it is a start. John Blanke: (raising his mug) To progress, then! May it continue to move forward, however slowly. Ignatius Sancho: (clinking mugs) To progress, and to the courage of those who dare to dream of a better world. Cheers, John! The two musicians share a hearty laugh, their conversation a testament to the enduring power of perseverance and the slow but steady march of progress....
Costumes
Reviews from the audience on the night
via Chat GPT
5 Comments
John Blanke: The Black Musician at the Tudor Court, took place 4th June in British Library's Piazza Pavilion. It was part of the library’s Beyond the Bassline : 500 years of Black British history exhibition (26 April–26 August 2024) . The very first John Blanke Live! symposia event took place at British Library on November 3rd, 2017. The first featured historians, visual artists and poets this one featured musicians : Nigerian composer and multi-instrumentalist Olá Akindipe , and Lance Sargeant Lawrence Narhkom member of the Band of the Grenadier Guards. Dr Mykael Riley a co-curator of the exhibition opened the event. I gave a brief introduction to John Blanke and the John Blanke which was followed by a discussion between me and Dr Misha Ewen on who John Blanke was and what his presence at Tudor court signified and what his image means to us today. Following Misha and I Olá played on the clarinet his arrangement of the melody from John Blanke Anthem followed by a high life piece on the bass clarinet as an example of the music that would have been played to leaders and elites like Henry VIII in Nigeria. Lawrence on trumpet improvised on a jazz tune, seamlessly blending it with military band marches and the traditional slow and quick marches of the Household Division tunes that he will be playing as one of 400 musicians who will be taking part on 15th June in The King’s Birthday Parade (Trooping the Colour) . John Blanke would have played in similar events for Henry VII and Henry VIII making 500 years of Black British music manifest. The evening closed with Lawrence playing the Last Post
Feedback from the evening by email included ‘beautiful and moving’, ‘incredible to hear Ola and Lawrence’ and ‘unforgettable evening.’ John Blanke is part of the Beyond the Bassline exhibition the installation is described in a previous blog post. Last Thursday – 24th April 2024 - I was delighted to attend the opening on the British Library’s latest Exhibition Beyond the Bassline: 500 years of Black British Music (26 April–26 August 2024) . For the past few months I’d been a member of the Exhibition’s advisory board as well as contributing a work from the John Blanke collection (Stephen B. Whatley’s Tribute to John Blanke) and written a chapter on John Blanke for the exhibition’s catalogue. It was a chance to see the exhibition and John Blanke’s part in it but also to meet several old friends as well as the curators Dr Aleema Gray and Dr Mykaell Riley in person , having only met them via Zoom for the past months. And also to wear my back in the day double breasted, wide shoulder pink silk suit straight out of 1970s Hawaii Five-0 as the double breasted suit is now back in fashion after 50 years as seen in H&M April 2024! The John Blanke installation is at the very start of the exhibition which follows the time line of Black British from sixteenth century to the present day with a glimpse of the future. The installation aka display is in a line of four for early Black musicians: John Blanke (fl 1495 to 1512) the Black Tudor trumpeter to the court of Henry VIII and Henry VIII; Ignatius Sancho (c1729 to 1780) shopkeeper, man of letters and composer; Billy Waters (c1728 to 1823) the street entertainer; George Bridgetower (1778-1860) the child prodigy and virtuoso violinist. The John Blanke display is beautifully simple and effective. The low lighting with spotlights highlighting the display’s three works: one visual, his portrait by Stephen B. Whaley; the other two texts , one from the National Archive’s collection – his petition to Henry VIII for wage increase and the other from British Library’s own collection – the accounts of Andrew Windsor, the keeper of the Great Wardrobe details the payments made to the suppliers of the materials, and to the tailor for making Henry VIII’s wedding gift to John Blanke. The low lighting with the dark drapes and the mounted picture in its black picture frame and mounting and the documents in glass climate controlled cabinets collectively create the effect of a shrine to John Blanke. A beautiful presentation of John Blanke and the Project with is strapline – Imagine the Black Tudor Trumpeter made real. I was particularly impressed with the mounting of Stephen’s work which I’d discussed with the loan team – the A4 black and white image on paper float mounted on a black background in a black A3 frame – just perfect ! I spent most of the evening in front of the ‘shrine' as folk kept asking me and wanting know more about John Blanke. I was eventually left with literally minutes to see the rest of this exhibition. Needless to say no time at all to see the many wonderful things to see and hear and recalling so many memories as I rushed through Beyond the Bassline’s sounds and images to the exit driven by the attendants at the evening was rapidly drawing to a close ! I have to go back to really take it in. The john Blanke ‘shrine’ is wonderful and worth visit on its own – I would say that wouldn’t! If you love music you’ll love this visual and sonic journey thru time – from the Tudors to cyberspace….. I'm thrilled to share some fantastic news with you about our crowdfunding journey for The John Blanke Project Book. As we mark the quarter-way point of our campaign, your incredible support has propelled us halfway to our funding goal! This achievement is a testament to the enthusiasm and generosity of each and every one of you, and I cannot thank you enough for your contributions.
I'm also excited to announce that our project has received endorsements from two leading history professors and a leading actor and author a tremendous vote of confidence in the importance and impact of The John Blanke Project. David Olusoga Professor of Public History at the University of Manchester The John Blanke Project redefines historical exploration by merging practical scholarship with innovation and critical imagination. Anchored in social justice, it reveals the overlooked narratives of Black Tudor England, enriching our grasp of diversity and British identity. By blending art and history, it encourages a deeper, empathetic engagement with our shared past, advocating for a more inclusive and equitable understanding of history. Corinne Fowler Professor of Colonialism and Heritage The John Blanke Project brilliantly illuminates the overlooked chapters of Black Tudor England, blending rigorous scholarship with creative vision. Its profound commitment to uncovering the full spectrum of our heritage challenges us to embrace a more diverse and inclusive narrative of British history. A landmark in historical exploration, this project transforms our understanding and appreciation of the past. Paterson Joseph, British Actor and Author, Chancellor of Oxford Brookes University The John Blanke Project, much like my exploration into Ignatius Sancho's life, offers a transformative lens on British history, spotlighting the pivotal yet frequently overlooked roles of Black Britons in our shared heritage. Both endeavors challenge us to broaden our historical narratives, weaving the contributions of these remarkable individuals into the fabric of our national identity. This project stands shoulder to shoulder with my work on Sancho, each amplifying the other, as we strive to paint a more inclusive and comprehensive portrait of our past." I thank you, Paterson, Corrine and David for your support in helping to #MakeHistory and the Book of the John Blanke Project happen....and do please keep spreading the word #LetsMakeHistory! The John Blanke Project website is a remarkable digital platform that offers a rich and engaging exploration of historical narratives, particularly focusing on the life and experiences of John Blanke, an African trumpeter who lived in the Tudor court of England during the early 16th century. Here's an analysis of its content: 1. Historical Significance: The website places a spotlight on a relatively lesser-known historical figure, John Blanke, and sheds light on the presence of black individuals in Tudor England. This focus on underrepresented history adds depth and diversity to the understanding of this period. 2. Multimedia Integration: The website effectively utilizes multimedia elements, such as images, videos, and interactive timelines, to provide a comprehensive and visually appealing narrative. These elements make history come alive for visitors, enhancing their engagement and understanding. 3. Educational Resource: The John Blanke Project website serves as a valuable educational resource, with detailed information about Blanke's life, his role in the Tudor court, and the broader historical context. It also offers downloadable educational materials, making it useful for teachers and students. 4. Accessibility: The inclusion of accessible features, like alt text for images and a clean layout, ensures that the content is available to a wide audience, including those with disabilities. 5. Contemporary Relevance: The website connects historical narratives to contemporary issues of race, identity, and representation. It encourages visitors to reflect on the relevance of John Blanke's story in today's world. 6. Collaboration and Engagement: The inclusion of community contributions and opportunities for users to share their own stories or artwork related to John Blanke fosters a sense of community and participation. In summary, The John Blanke Project website effectively combines historical research, multimedia storytelling, and educational resources to bring the often-overlooked history of John Blanke and the presence of black individuals in Tudor England to a broader audience. Its commitment to inclusivity, education, and contemporary relevance makes it a valuable online resource for history enthusiasts, students, and anyone interested in diverse historical perspectives.ere to edit. .The John Blanke Project is an art and archive initiative celebrating the life and legacy of John Blanke, a Black Tudor trumpeter who served at the courts of Henry VII and Henry VIII. This project, led by Michael Ohajuru, aims to bring attention to Blanke's unique place in history as the only Black Tudor with an identifiable image. It started in 2015 and involves various artists and historians who reimagine Blanke's story based on his depictions in the Westminster Tournament Roll and historical accounts from the Tudor court. The project also includes educational and public engagement components, such as exhibitions and online resources, to highlight the broader history of Black presence in Renaissance Europe. The significance of John Blanke in British history is further underscored by various commemorations, including a blue plaque in Greenwich, London, and his inclusion in the list of 100 Great Black Britons. Sources 【20https://www.johnblanke.com】【21https://en.wikipedia.org/wiki/John_Blanke】【22https://www.npg.org.uk/collections/research/john-blanke-and-the-westminster-tournament-roll】. Sadly couldn't generate an image to represent the Project kept saying... It seems I'm still encountering technical issues in generating an image. For visual representations that capture the essence of the John Blanke Project, I recommend exploring the project's official website or related online resources. These platforms often showcase artwork and historical interpretations related to John Blanke and his significance in Tudor England.
I am delighted to report – after months of secrecy - that the John Blanke Project is now in the National Portrait Gallery and on its web site. It appears in the Westminster Tournament Roll video in the Tudor Gallery on the third floor. A slim down version of the innovative video Roll’s installation at the Walker Art Gallery Exhibition featuring the Roll’s highlights including John Blanke’s two appearances. I have to thank Dr Charlotte Bolland for The Project’s mention in the Roll’s video and presence on the National Portrait Gallery's web site, as Dr Bolland has championed the Project since she first saw the complete collection when I showed it to the folks at the Walker. I had to have my picture with her and the Roll and also with Jan Marsh - John Blanke Project Historian who wrote about John Blanke's presence on the Roll as "an invaluable Tudor portrait". I was there at the celebrity packed opening party - 21st June 2023 - of the £40M refurbishment of the National Portrait Gallery a simultaneously brilliant and humbling experience to see The John Blanke Project amongst the great Tudor Portraits. The Project’s installations at the Walker Art Gallery in Liverpool was great but that was a temporary exhibition, albeit with an impressive legacy. The National Portrait Gallery installation is permanent, there for the ages. It was a brilliant evening went by in whirl of networking with old friends, renewing acquaintances, chatting with some lovely people and doorstepping celebrities! The Black Book of The Garter (1534), also known as Liber Niger, is a medieval manuscript that is highly significant in the history of the Order of the Garter. Commissioned by King Henry VIII in the early 16th century, this illuminated manuscript contains the earliest surviving record of the statutes, rules, and regulations of the Order of the Garter, the most prestigious chivalric order in England. The Black Book is named after its black velvet binding, which was adorned with a gold garter and the Tudor rose. The manuscript is written in Latin and features beautiful calligraphy and intricate illuminations that depict scenes from the life of St. George, the patron saint of the Order of the Garter. Henry VIII was a passionate supporter of the Order of the Garter and took a strong personal interest in its affairs. He was determined to elevate the Order's status and promote its reputation as a bastion of chivalry and nobility. As such, he commissioned the Black Book to serve as a comprehensive record of the Order's history, statutes, and traditions. The Black Book is divided into three main sections. The first section contains a detailed account of the foundation of the Order of the Garter and the legend of St. George. The second section outlines the Order's statutes, which cover everything from the admission of new members to the rules of conduct for knights and officers. The third section contains a list of all the knights who had been admitted to the Order up to the time of the manuscript's creation. The Black Book is not only a valuable historical document but also a work of art. Its illuminations, created by the leading artists of the Tudor court, are a testament to the beauty and elegance of medieval bookmaking. Today, the Black Book is housed in the Royal Collection at Windsor Castle and is considered one of the most important manuscripts in the history of the Order of the Garter. Post inspired by Tudorpage on Face book
John Blanke appears in QI XL Series T: 13. Tubular Sandi takes a look at tubes and tubas in a totally tubular show with Bridget Christie, Sara Pascoe, Deborah Frances White and Alan Davies. ick here to edit. For those who did not have the opportunity to visit The John Blanke Project at The Tudors: Passion, Power and Politics Exhibition Liverpool’s Walker Art Gallery exhibition 21 May 2022--29 Aug 2022…or for those who would like to revisit it you now can thanks to an online 3D and VR rendition
If you can’t wait to see it right now in spectacular 3D you can go straight to The John Blanke Project here or to have a 3D or VR walk thru the whole glorious exhibition leading up to The John Blanke Project start here. Detail from Linnet Kamala's John Blanke Re-reading Onyeka’s seminal text (Onyeka (2013) Blackamoores: Africans in Tudor England Their Presence Status and Origins) , keeping in mind what Prof Kaplan and Dr Cunningham wrote that John Blanke’s name was a cognomen or nickname and there was another John Blank (sic) in the Tudor Court record, respectively. I came across the following….
Having looked at over 250,000 entries, I have found only four references to a 'Blanke' and they are contained in the subsidy rolls*. All these Blankes are found in London parishes so it is possible because the name is so rare that they are connected to John Blanke. But they are unlikely to describe the 'blacke trumpeter,' because even if his race was not mentioned his occupation probably would have been as with "Guylham the King's mynstrell' who lived in Westminster on 3 November 1540, or 'Anthony ... Hailes "The Sergeant of the Trumpeters,' who lived at Saint Peter the Poor's Ward, London on 10 January 1564. Nevertheless, it is worth mentioning that the entries with the name Blanke are from the areas of the Liberty of Tower Wharf, London, and date from November 1540, Saint Peter's Parishnear the Tower of London on 1 October 1543, and St Katherine's next to the Tower of London on 3 April 1549. The last 'John Blanke' may be the same person who is also referred to as being resident in St Katherine's Parish, Aldgate, London on 14 May 1559. Finally, a 'Johannes Blanke' appears in the subsidy rolls for Middlesex in the Ward of the Lane Beneath on 17 April 1550. * records of taxation in England made between the 12th and 17th centuries Onyeka (2013) Blackamoores: Africans in Tudor England Their Presence Status and Origins. Pg 211. ( See my review here) |
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