Jahnavi Inniss
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Black British History Quilt
Project Context
Methods of Memorialisation
David Olusoga’s BBC documentary series – Black and British: A Forgotten History gave a clear examples of presenting this history on a large platform that was palatable to a wide audience. The framing of the narrative is particularly engaging as Olusoga presents this history as ‘everyone’s history’ (Walker-Arnott, 2016). In doing so, Olusoga automatically re-positions Black British history, presenting it as of equal importance, where it can no longer be treated as insignificant and irrelevant.
As a result of this, it combats the ‘historical amnesia’ of collective British consciousness, causing Britain to no longer be able to deny accountability for its atrocities committed throughout history. This helped me to further recognise my responsibility whilst telling stories of Black British history. Stuart Hall’s Representation Theory is reiterated here as I have again acknowledged my influence in the presentation and construction of narratives, considering the influence I have in the way the audience engage with and interpret my outcome.
David Olusoga’s BBC documentary series – Black and British: A Forgotten History gave a clear examples of presenting this history on a large platform that was palatable to a wide audience. The framing of the narrative is particularly engaging as Olusoga presents this history as ‘everyone’s history’ (Walker-Arnott, 2016). In doing so, Olusoga automatically re-positions Black British history, presenting it as of equal importance, where it can no longer be treated as insignificant and irrelevant.
As a result of this, it combats the ‘historical amnesia’ of collective British consciousness, causing Britain to no longer be able to deny accountability for its atrocities committed throughout history. This helped me to further recognise my responsibility whilst telling stories of Black British history. Stuart Hall’s Representation Theory is reiterated here as I have again acknowledged my influence in the presentation and construction of narratives, considering the influence I have in the way the audience engage with and interpret my outcome.
Murals
The Battle of Lewisham Mural in New Cross (see image) commemorates the events of 1977 when the National Front, a Neo-Nazi organisation attempted march into Lewisham, a predominantly black, multi-ethnic community in south-east London. This caused them to clash with anti-fascist protestors which ‘initiated the decline of the far right’ (Townsend, 2017) in 1977. This mural is of particular significance now more than ever as far-right ideologies have begun to rise worldwide and are becoming ever more present. The sharp rise in reports of xenophobic attacks after Britain voted to leave the European Union in 2014 is an example of this, along with the mass support of Donald Trump’s anti-immigration rhetoric. Through the visible figure of Darcus Howe - a former community activist, the mural cements this significant event within the community, where
Reflecting on the visual language of murals and the ways in which they provide empowerment and visibility within a specific location, I wanted to explore how this can also be created through public monuments.
The Battle of Lewisham Mural in New Cross (see image) commemorates the events of 1977 when the National Front, a Neo-Nazi organisation attempted march into Lewisham, a predominantly black, multi-ethnic community in south-east London. This caused them to clash with anti-fascist protestors which ‘initiated the decline of the far right’ (Townsend, 2017) in 1977. This mural is of particular significance now more than ever as far-right ideologies have begun to rise worldwide and are becoming ever more present. The sharp rise in reports of xenophobic attacks after Britain voted to leave the European Union in 2014 is an example of this, along with the mass support of Donald Trump’s anti-immigration rhetoric. Through the visible figure of Darcus Howe - a former community activist, the mural cements this significant event within the community, where
BLACK BRITS ARE REMINDED
DAILY OF THEIR LOCAL HISTORY
AND ITS LEGACY.
Reflecting on the visual language of murals and the ways in which they provide empowerment and visibility within a specific location, I wanted to explore how this can also be created through public monuments.
Monuments
Whilst visiting the Black Cultural Archives for research, I was shocked to come across a large bronze bust of Marcus Garvey – a pioneer in Pan-Africanism buried in the archive room. Reflecting on the cultural significance of his character, along with its remote location within the BCA in Brixton, I spoke with the archivist who explained that the organisation at present lacks funding and so they are unable to perform at its full potential.
This echoed the announcement in late 2019, whereby Boris Johnson’s Conservative government rejected funding for a £4m transatlantic slave memorial to be built in Hyde Park. Insufficient funds were the alleged reason for the rejection. As the Mayor of London in 2008, when the memorial was proposed, Boris Johnson publicly endorsed it, stating that ‘Hyde Park was a fitting site for this permanent memorial to the millions who lost their lives’. (Elbaor, 2019).
Not long after the rejection announcement in 2019, it was confirmed that the government were to grant an additional £25m to the Holocaust memorial in Westminster, increasing its state funding to £75m. (Booth, 2019) It is thought that the fulfilment of the slavery memorial is being impeded as it would admit Britain’s considerable role in the transatlantic slave trade, whereas ‘it’s easier to take the moral high ground about someone else’s atrocity’ (Elbaor, 2019). This further reiterated the position that Black British history holds within mainstream history discourse.
I went on to examine the subjects of public monuments around London. I observed how an overwhelming majority of them depicted white males, typically in relation to their service in war. I considered the form of commemorative statues as a form of creating visibility whilst simultaneously cementing a legacy and decided to create my own.
Whilst visiting the Black Cultural Archives for research, I was shocked to come across a large bronze bust of Marcus Garvey – a pioneer in Pan-Africanism buried in the archive room. Reflecting on the cultural significance of his character, along with its remote location within the BCA in Brixton, I spoke with the archivist who explained that the organisation at present lacks funding and so they are unable to perform at its full potential.
This echoed the announcement in late 2019, whereby Boris Johnson’s Conservative government rejected funding for a £4m transatlantic slave memorial to be built in Hyde Park. Insufficient funds were the alleged reason for the rejection. As the Mayor of London in 2008, when the memorial was proposed, Boris Johnson publicly endorsed it, stating that ‘Hyde Park was a fitting site for this permanent memorial to the millions who lost their lives’. (Elbaor, 2019).
Not long after the rejection announcement in 2019, it was confirmed that the government were to grant an additional £25m to the Holocaust memorial in Westminster, increasing its state funding to £75m. (Booth, 2019) It is thought that the fulfilment of the slavery memorial is being impeded as it would admit Britain’s considerable role in the transatlantic slave trade, whereas ‘it’s easier to take the moral high ground about someone else’s atrocity’ (Elbaor, 2019). This further reiterated the position that Black British history holds within mainstream history discourse.
I went on to examine the subjects of public monuments around London. I observed how an overwhelming majority of them depicted white males, typically in relation to their service in war. I considered the form of commemorative statues as a form of creating visibility whilst simultaneously cementing a legacy and decided to create my own.
Claudia Jones
I chose to commemorate Claudia Jones, as her legacy of Notting Hill Carnival is often misunderstood in both its reasons for its conception and what carnival actually represents. As Claudia arrived in London at a time of hostility surrounding immigrants in Britain, she founded the West Indian Gazette, Britain’s first black-owned newspaper as a form of uniting Britain’s West Indian community and keeping them informed on current affairs. This was particularly important in the year of 1962 when the Commonwealth Immigrants Act – an act that was used to halt mass immigration to Britain was put into place. I used Fowokan, the sculpture artist that created the bust of Marcus Garvey as artist inspiration.
Whilst attempting to create my sculpture of Claudia Jones, I began to consider the different ways in which it would be presented, in order to achieve it’s intended impact. Whilst creating a sculpture of her head provides a literal form of visibility, I wanted to add an additional element where her story could be told, and her contributions acknowledged. I considered presenting the statue in the context of a gallery or the degree show, whereby I could include a large-scale typographic piece that accompanied the statue. Whilst exploring galleries as a practical space, I began to analyse the role of curation against the theories of Representation and Semiotics.
I chose to commemorate Claudia Jones, as her legacy of Notting Hill Carnival is often misunderstood in both its reasons for its conception and what carnival actually represents. As Claudia arrived in London at a time of hostility surrounding immigrants in Britain, she founded the West Indian Gazette, Britain’s first black-owned newspaper as a form of uniting Britain’s West Indian community and keeping them informed on current affairs. This was particularly important in the year of 1962 when the Commonwealth Immigrants Act – an act that was used to halt mass immigration to Britain was put into place. I used Fowokan, the sculpture artist that created the bust of Marcus Garvey as artist inspiration.
Whilst attempting to create my sculpture of Claudia Jones, I began to consider the different ways in which it would be presented, in order to achieve it’s intended impact. Whilst creating a sculpture of her head provides a literal form of visibility, I wanted to add an additional element where her story could be told, and her contributions acknowledged. I considered presenting the statue in the context of a gallery or the degree show, whereby I could include a large-scale typographic piece that accompanied the statue. Whilst exploring galleries as a practical space, I began to analyse the role of curation against the theories of Representation and Semiotics.
Next: The Gallery