Attention, music lovers. Charlotte Gill brings thrilling news:

I knew you’d be keen.

Naturally, all this healing and coexistence, all this righteousness and resistance, necessitates certain rules, indeed a manifesto:

As Ms Gill observes, one eyebrow slightly raised:

Ah, but, you see, it’s “the radical act of collective song.” The “radical act of joy.” And the radical act of shunning white people as some kind of moral contaminant. How the time must fly.

Readers intrigued by the prospect of shaping the tapestry of their collective sound, via “somatic practice,” “singing and healing together,” and “co-creating an anthem,” can savour the results of all this radicalism below:

This is what a “Decolonise Choir” looks and sounds like. Find out more in my new piece 🚨🦄 🌈 💰 🌹 https://t.co/gFm6yv2QKo pic.twitter.com/pSaI9301Sx

— Woke Waste 💰🦄 (@WokeWaste) July 25, 2024

You may now resume your humdrum, dreary, non-decolonised lives.

Update, via the comments:

Nikw211 asks, not unreasonably,

Indeed. It’s a head-scratcher.

However, as the only racial group being explicitly excluded is Old Whitey, the obvious inference is that the cause of all this alleged misery and “trauma” is the party being excluded. As if the mere proximity of People Of Pallor would inhibit and befoul any creative endeavour, any glimmer of “joy.” Given the minority status of white people in London, it seems a bit much. And ever so slightly ungrateful.

And it is, I think, worth noting that the nation’s capital, where these dramas of “resistance” unfold, has in my lifetime gone from a native white-majority city, over 90%, to a native white-minority one, around 35%. Yet it would seem that even this dramatically downsized white devil population is, for some, still too burdensome and oppressive.

A cause of “collective trauma.”