The Six Triple Eight

“It is an absolute honour to stand here in the presence of incredible storytellers and to celebrate a story that deserves to be told: The Six Triple Eight.

The Six Triple Eight mission was not just about delivering mail; it was about breaking barriers and proving that Black women could, and would, rise above challenges—no matter how impossible the odds seemed.

At the Black Cultural Archives, we are driven by three values: to reflect, empower, and ignite. To reflect on our shared history as Black people, empowering us to embrace our stories with pride, and igniting future generations to continue the fight for visibility, equity, and recognition.

The Six Triple Eight reminds us that our history is global, our stories interconnected, and our collective power unshakable. These women delivered dignity, courage, and a legacy that echoes across decades and continents.

Today, at BCA, we carry the torch they lit by preserving, sharing, and celebrating the stories of Black resilience and triumph. But we can’t do this work alone and I hope you'll consider becoming part of the BCA family. In times of challenge, we remember that connection—like the connection this battalion forged under unimaginable circumstances—can help us go further, together.

So, as I raise this glass, I invite you to reflect on the stories that have shaped us, empower one another to carry them forward, and ignite the belief that history is not just something to be remembered—it’s something to be cherished, protected, and shared.  

To The Six Triple Eight. To connection. And to the power of our stories. We look forward to welcoming you to the BCA soon.”

Lisa Anderson, Managing Director, Black Cultural Archives

13 December 2024

RESOURCES

REFLECT: Search ‘Special Collections and Archives’ catalogue by key words like ‘world war’ (for example) and find out what we have in our collections related to Black Service men and women.

EMPOWER: Access the ‘War to Windrush’ study guide released to coincide with the unveiling of the First and Second World War memorial to the contributions made by African and Caribbean men and women and find out more about the legacy of the Black Service men and women who served in the First and Second World War.

IGNITE: Go to our online shop and purchase a Black Poppy Rose to support and commemorate the Black, African, and Caribbean communities’ contribution to World War I as service people and as civilians.

Important Update from BCA

BCA is unwaveringly committed to collecting, preserving, and celebrating Black British history.

The trustees and senior leadership team are focused on enhancing BCA’s impact and ensuring that it can deliver for its beneficiaries for generations to come.

After much consideration and with the best interests of the charity and our beneficiaries at heart, we have decided to pause external-facing operations at BCA. This means that the 1 Windrush Square site will close temporarily from 1 February 2025 onwards. However, our reading room and archives will remain open on an appointment basis, and our learning services will continue.

In addition, Lisa Anderson has decided to move on from her role as BCA Managing Director after three years of service and will leave the organisation on 31 December 2024. The Board is committed to ensuring a smooth transition and will share updates regarding the next steps for leadership at BCA in due course.

Implementing this pause will enable BCA to become more fit for purpose and to deliver on its mission and values more effectively. Our goal is to come back as a stronger BCA, ready and eager to continue serving the communities that depend on us.

Sharmaine Lovegrove
BCA Board Chair

For enquiries, please contact enquiries@bcaheritage.org.uk

BCA meets March Muses

March Muses is a pioneering brand bringing inclusivity and representation to the festive season. Founded by Alison Burton and Natalie Duvall, the brand began with a heartfelt mission to create Christmas decorations that reflect the diverse beauty of the world we live in.

With ornaments and accessories that celebrate culture and identity, March Muses has become a trusted name for those looking to make their celebrations more meaningful and inclusive.

We spoke to Alison about what led her and Natalie to start the business.

What inspired you to start March Muses, and what were the early challenges of turning your idea into a business?
March Muses began with a simple yet profound question from Natalie’s daughter, Sophia. “Can Christmas Angels have brown skin?”—. It was heartbreaking to see our daughters growing up without seeing themselves reflected in something as universal and joyous as Christmas. The journey from idea to business wasn’t easy. Early challenges included sourcing manufacturers who understood our vision, managing upfront costs, and convincing retailers that there is a real market for inclusive decorations. But our belief in the importance of representation kept us going.

What’s one part of your cultural heritage that inspires how you approach your work?
My Caribbean heritage is at the heart of everything I do. It’s taught me the value of community, resilience, and the power of storytelling. 

How do you balance running a profitable business while staying true to your mission and values?
It’s about staying grounded in our "why." Every decision, from product design to partnerships, is filtered through our mission to make celebrations inclusive. Profitability is essential for sustainability, but we’ve learned that staying authentic to our purpose resonates deeply with our customers and ultimately drives our success.

Have you faced any challenges in educating or convincing people about the importance of representation in this area?
Absolutely. Some people underestimate how deeply representation impacts identity and self-esteem, especially for children. Educating others involves sharing personal stories and showing the emotional response our products evoke. Seeing children’s faces light up when they see decorations that look like them is our most powerful argument.

What’s a lesson from your journey that you believe others can learn from?
The biggest lesson has been to start where you are and use what you have. You don’t need to have everything figured out; you just need to take the first step. Trust your instincts, and don’t be afraid to ask for help along the way.

Why do you think representation in festive decorations is so important, particularly for children?
Children form their sense of self through what they see around them. If they don’t see themselves represented, especially during universal celebrations like Christmas, it sends a message that they’re not included or valued. Representation in decorations reinforces belonging, pride, and the idea that every child deserves to feel the magic of the season in a way that reflects their identity.

Alison (left) and Natalie with a selection of their products

What advice would you give to someone trying to make an impact in their community?
Find a gap, address a need and stay persistent. When you lead with genuine purpose, people will rally behind you. Small, consistent actions can create ripple effects that grow into meaningful change.

Is there a particular product or moment in your journey with March Muses that holds special significance to you?
Our first ornament, Pops Gift will always hold a special place in my heart. It marked the beginning of our journey and showed me that what started as a personal mission could resonate with so many others.

What’s one skill or habit that’s been essential for your success?
The ability to adapt quickly has been invaluable. In business, things rarely go as planned, so staying flexible while keeping your end goal in sight is crucial.

If you could leave a message for the next generation, what would it be?
Never underestimate the power of your voice and your vision. You have the ability to create spaces where everyone feels seen and valued. Representation isn’t just important—it’s transformative.

You can explore the full range of March Muses products by visiting www.marchmuses.co.uk. BCA readers can get free shipping on their orders by using the code BCAFREESHIP until Monday 16 December 2024. Celebrate the season in style, with decorations that truly reflect your story.

Watch the moment that Alison and Natalie secure investment on BBC’s Dragon’s Den

BCA meets director Danielle Njamen

BCA are proud to be a supporter of The Brixton Film Festival and sat down with contributor and director Danielle Njamen. Her latest film, Sonder, is a heartfelt spoken-word love story and is part of the festival. We asked Danielle about her career so far and what people should expect from the film.

Tell us a little about Danielle the person and where life started for you. 

Life for me began long before I arrived in this country. I vividly remember expressing my creativity through the world around me—playing make-believe kitchen games with friends, frying fish from the lake, and braiding the roots of grass in my neighbourhood. Growing up, I was captivated by tales of the UK,  imagining streets paved with gold. My heart raced with excitement at the thought of witnessing such marvels. 

When I arrived, the sight of ordinary cement pavements momentarily shattered that dream. Yet, I clung to my sense of hope. Over time, I realised the "gold"  wasn't in the streets but in the opportunities they represented, and the pavement symbolised the path to achieving those dreams. This understanding fuels my determination to pursue my greatest goals and persevere, no matter the challenges I face. 

What first inspired you to pursue a career in directing? 

I believe my boldness and outspokenness led me to pursue a career in directing.  In my early years, I was extremely introverted, often suppressing my thoughts and feelings. My mind was constantly brimming with ideas, but I struggled to express them. 

Over time, I gradually came out of my shell, discovered my personality, and gained a clearer understanding of who Danielle truly is. I found joy in exchanging ideas with others and embracing the collaborative process. My ability to accept criticism and merge others' ideas with my own continues to inspire and motivate me on this journey. 

Can you share the moment when you realised storytelling was your passion? 

Before stepping behind the camera, I loved being in front of it. I studied drama and participated in numerous after-school drama clubs, relishing the opportunity to portray characters and draw audiences into their worlds. 

However, I soon realised that my imagination extended beyond acting. I found myself envisioning alternative scenarios—reimagining how scenes could be set,  how lighting might influence the mood, and how costumes could convey the story. 

This creative curiosity led me to discover a passion for orchestrating scenes. At the same time, I began directing music videos and documentaries, combining my love for storytelling across different mediums. Over time, these passions merged, and I found immense joy in capturing and crafting compelling narratives. 

How has your journey shaped your unique approach to directing? 

My personal story has profoundly shaped my approach to directing, with the struggles I’ve faced deeply influencing my unique perspective. I’ve always desired for others to step into my shoes, to truly understand who I am and why I  am the way I am. I believe the ability to foster empathy and connection is one of the most important traits a person can possess. 

This belief drives my directing style. I make a conscious effort to place myself in the actors' positions, imagining how they feel and think, which allows me to guide them with greater understanding and sensitivity. At times, I even involve myself directly in the scene—not just as a director but as a participant. This approach can ease tension, create a more relaxed and collaborative atmosphere, and help bridge the gap between the abstract story and the actors'  interpretations. 

By humanising the characters and immersing myself in the creative process, I  ensure that the actors connect deeply with their roles. This method not only enhances their performances but also enables the audience to relate to the story on a personal level, bringing the narrative to life in a way that resonates emotionally.

Why do you think it’s essential to tell more Black Love stories in film? 

Cinema often lacks meaningful representation of Black love, and when it is depicted, it’s frequently portrayed as a struggle—fraught with hardship and seemingly impossible to achieve. What we often see is "struggle love," where characters are forced to settle for less or endure toxic relationships. While these narratives reflect the realities of some, they fail to capture the rich diversity and beauty that exists within Black love. 

It’s essential to expand these portrayals and showcase the full spectrum of  Black relationships. I want to see the housewife building a loving family. I want to see the career-driven woman navigating her success while being adored by a host of respectful suitors. I want to see QUEER love celebrated unapologetically. Above all, I want to see real people—authentic,  multidimensional characters who reflect the depth and variety of Black experiences. 

This representation matters because it shapes how Black love is perceived and valued, both within and beyond the Black community. By presenting narratives filled with joy, tenderness, and possibility, we inspire future generations of filmmakers to carry forward a legacy of positivity. In doing so, we also empower audiences to see themselves in these stories—not as an exception, but as a norm. My goal is to create films that uplift and affirm, fostering a sense of pride and hope that will ripple through the industry and into society. 

What do Black Love stories bring to cinema that’s often missing?

The depth of love is often what’s missing in cinema, and I believe that depth is beautifully embodied in Black love. When I think of Black love, I think of resilience, of overcoming challenges together, and of finding joy even in the midst of adversity. Black love feels like a sweet treat after a long day—a comforting indulgence that nourishes the soul. It’s a celebration, a warmth that wraps itself around you, inviting you in. 

This energy is unique, something that cannot be replicated. Our joy, born out of shared experiences and cultural richness, is unlike any other. Black love feels like a journey you never want to end—a voyage of discovery, growth, and unshakable support. It’s a bond that inspires, comforts, and uplifts, reminding us of our strength and humanity. 

What makes Black love so extraordinary is the individuality we bring to it. Each person’s unique experiences, shaped by the complexities of the Black identity,  add layers of meaning and value. The collective history, struggles, and triumphs of our community enrich our love, making it more profound and nuanced. This is why it’s so important for cinema to fully explore and celebrate Black love in all its dimensions. By sharing these stories, we not only affirm the beauty of our connections but also offer a deeper, more authentic portrayal of what love can be—transformative, enduring, and deeply rooted in the human experience.

How do you want audiences to feel after watching stories centred on Black Love?

I want the audience to connect with my stories on a level that goes beyond skin colour, finding shared experiences and common ground in the emotions and journeys we portray. The concept of sonder—the realisation that everyone else’s life is as rich and complex as your own—captures this beautifully. It reminds us that, while our backgrounds may differ, the struggles, triumphs, and feelings we experience often echo one another. 

It is entirely possible to share similar challenges despite coming from vastly different circumstances. By focusing on the humanity within our stories—the love, pain, joy, and perseverance—I hope to create narratives that resonate universally. These connections can bridge divides, fostering understanding and empathy. When audiences see themselves reflected in these stories, regardless of their own experiences, it reinforces the truth that our shared humanity is more profound than any superficial differences.

What drew you to this particular piece? 

I love the concept of storytelling in creative forms, whether it’s through music,  poetry, or visual art. In this particular piece, we explored the lives of three distinct individuals, each with a unique story. Initially, our goal was to expand on their narratives, diving deeper into the themes that emerged throughout the film.  I wanted to explore how someone’s past can profoundly influence the way they build relationships in the future—an idea that fascinates me. Who knows?  Maybe there’s room for a sequel, haha! 

I have a deep love for soulful music, especially R&B and jazz, and I was passionate about weaving that influence into the film. Music has such a powerful ability to set a tone and evoke emotion, and I saw it as a perfect complement to the themes we were exploring. These creative possibilities excited me and drew me further into the project.

A significant focus for me was also to highlight Black people and tell stories rooted in their experiences. I wanted to bring the vibrancy and character of  Brixton’s landscape to life—a setting rich with culture, history, and resilience. By integrating these elements, I aimed to create a piece that felt authentic,  evocative, and deeply connected to the community it represents. 

How did you approach bringing this story to life, both visually and emotionally?

I initially set out to tell a story about mental health in an artistic and poetic way.  When I began collaborating with another young creative, Faith Pearce, our vision evolved into a focus on three interconnected themes: love, heartbreak, and forgiveness. We wanted the storytelling to flow artistically, with each element complementing the other to create a cohesive narrative. 

Faith’s poetry became the heart of the piece, tying the story together with its profound emotional resonance. We used a dynamic technique of switching between the actors’ voices as they narrated parts of the poem, interwoven with  Faith’s live performance. The addition of jazz music as a backdrop enhanced the atmosphere, creating an immersive experience for the audience. The goal was to present the story from multiple perspectives, inviting the audience to explore its layers and consider that there might be more beneath the surface. By blending these artistic elements—poetry, performance, and music—we aimed to craft a piece that not only tells a story but also deeply connects with viewers on an emotional level. 

Were there any challenges you faced during the production process, and how did you overcome them? 

When so much is riding on your decisions, it can become incredibly challenging to navigate. One of the biggest obstacles I faced was second-guessing myself.  This led to overthinking, and as the process continued, I found myself putting even more pressure on myself. The weight of it all sometimes felt overwhelming. Another challenge I encountered, particularly at the beginning of production,  was the sheer scale of the project. The size of it intimidated me, and I found myself retreating a little, unsure of how to manage everything. However, with the encouragement and support of my team, I was able to regain my confidence,  take control of the situation, and ultimately bring my vision to life. Their belief in me helped transform my fear into motivation, allowing me to push forward and see the project through.

Is there a particular moment from creating this film that has stayed with you?

Yes, I don’t think I can ever forget that moment. Many tears were she throughout the process, and on the second day of production, things started off on schedule. However, as often happens in filmmaking, we couldn't predict how long certain tasks would take, and we naturally fell behind. 

As we reached the final stretch, I became overwhelmed. The shots I envisioned weren’t looking right, and I started to feel physically drained, eventually developing a headache. In that moment, I realised I needed to step aside. I took a break, sat down, and cried. It was a mixture of exhaustion and frustration, but what really stood out to me was the support I received from my team. My Director of Photography, Albert Mensah, sat with me and encouraged me,  ensuring I was okay. While I took a moment to rest, the team stepped in and took over, allowing me to recharge. That moment of kindness and understanding was truly precious to me. I will forever be grateful for the unwavering support I felt that day and throughout the entire process. It reminded me that filmmaking is not just about the technical aspects, but also about the people who stand by you, helping you through the challenges

What projects are you currently working on or planning for the future?

Currently, I haven't yet picked up a pen to write, but my imagination is endless.  With the opportunities ahead of me, I’m eager to take full advantage of them and turn my visions into reality—starting with putting them on paper and eventually bringing them to the big screen. 

One project that is especially close to my heart revolves around portraying true and authentic love. I plan to showcase lesbian love in its many forms, whether it’s self-love or romantic love. The story will centre on the struggles of the main protagonist as she navigates the journey of accepting herself and allowing others to accept her for who she truly is. This project will not only explore love but also the internal and external challenges that come with embracing one’s identity.

It’s a deeply personal project that I feel passionate about, and I’m excited to bring this story to life, offering a real and honest portrayal of love and self-acceptance. 

Are there specific themes or stories you are eager to explore next?

YES! I absolutely love comedy, thriller, and sci-fi—there are endless themes to explore in these genres. Whether it’s tackling addiction in a comedic light or showing how addiction affects the people around you through a thriller or magical realism lens, the possibilities are limitless. These genres allow for creative freedom and endless storytelling potential. 

I also have a deep appreciation for a good love story. I enjoy the challenge of finding and creating love in unexpected places, and seeing how love can emerge from even the most unlikely situations or characters. Whether it's through laughter, suspense, or the unknown, I believe there’s always a unique and compelling way to tell a love story, and I’m excited by the opportunity to bring these diverse themes to life. 

How do you see yourself evolving as a director in the coming years?

I’m excited about where my journey will take me from here. I’m eager to join the  Screening Academy for the Brixton Film Festival and build meaningful networking relationships that can turn into collaborative partnerships. I'm looking forward to creating more projects that I can submit to other film festivals, and it would be incredible to receive funding for a project that I direct. I want to continue pushing myself, stepping into challenging situations, and embracing the discomfort that comes with growth, as it will help me forge those meaningful connections. I believe that the experiences I live are what truly shape my creative mind, helping me write real, authentic stories. I’m committed to continuing this journey and using every experience to fuel my work, telling stories that resonate and inspire. 

What advice would you give to aspiring Black directors who want to tell authentic stories? 

I would say put yourself in tough situations because the only way to overcome them is by succeeding. Push beyond your comfort zone and never shy away from the difficult conversations. Embrace the challenges—they’re often where growth happens. Take pride in your authenticity; it’s something truly powerful. I  believe that being transparent in your storytelling is crucial—it’s what makes the most impactful and meaningful stories. When you share from an honest place,  you connect with others on a deeper level and create narratives that resonate.  Don’t be afraid to be real, because that’s where the best stories are born.

You can see Sonder and all the other films in the Brixton Film Festival on Friday 6 December 2024. BCA Black Card holders receive discounts on their ticket. Please contact the organisers for more details. You can find out more about The Brixton Film Festival at https://www.thebrixtonfilmfestival.co.uk/

BCA partners with The Brixton Film Festival

Black Cultural Archives is proud to announce they are a partner of The Brixton Film Festival. Set to debut at the iconic Ritzy Picturehouse in Brixton, South London, the festival will showcase the talent of emerging filmmakers. Designed to unify and empower local communities, this one-day event on Friday, 6th December 2024, is a must-attend for film enthusiasts and creatives. Tickets are available now here

The Brixton Film Festival was conceived by visionary Brixton filmmakers Natasha Preville, founding director of The Ascension Agency, and Emil Collins, award-winning filmmaker and founding director of The Socialize Film Club. It is dedicated to amplifying the voices of young filmmakers.

The Brixton Film Festival is more than just a celebration of cinema; it is a dynamic, multi-platform initiative supporting future filmmakers through two flagship programs: The Brixton Screen Academy and The ReelReal Film Experience, funded by Lambeth Made and the Mayor of London. These programs provide young people with industry training, hands-on experience, and employment opportunities in the TV and film industries.

Over the past year, participants have secured paid work experience, including filming at All Points East, Bloomberg, and the SoulFest launch at Sony. As part of the initiative, they created five short films and two music videos under the mentorship of an exceptional team of industry professionals. This included camera and post-production training from Albert Mensah, CEO of Fortune Favours Productions; storytelling and social media insights from Bernard P. Achampong, award-winning executive director and content producer; and direction and industry expertise from Fredi ‘Kruga’ Nwaka, a multi-award-winning film director, producer, and actor.

All sessions were hosted at The Ascension Agency’s studios in Brixton’s International House and culminated in a graduation ceremony held at the prestigious BBC Studios in White City, London.

The Festival Program

The Brixton Film Festival opens with a unique networking opportunity, offering attendees the chance to connect with industry experts, the festival’s founders, and partners from the Black Cultural Archives. The evening will feature exclusive premiere screenings from The ReelReal Filmmakers Experience, The Brixton Screen Academy and the New Black Film Collective.

Audiences can look forward to a selection of innovative short films shot in and around Brixton, including:

• Sonder – A heartfelt spoken-word love story, directed by Danielle Njamen.

• Apartment 19 – A supernatural queer comedy with a fresh twist, directed by Maya Jay.

• Brixton – A vibrant celebration of community through a "Day in the Life" lens, directed by Myvanwy Evans-Davis.

• NeuroSpicy – A thoughtful exploration of neurodiversity and self-expression, directed by Leanne Ivey.

• Dope – A thought-provoking exposé on screen time and its effects on children, directed by Maybri Boyle

The program also includes a special screening of Say Nothing, which premiered at the Cannes Film Festival in 2023. This powerful film features an impressive cast, including Judith Jacob (EastEnders, The Real McCoy), Che Walker (Riches, The Chelsea Detective), and Ellen Thomas (In the Long Run, Dark Money). An exclusive panel discussion and Q&A session with director Donna-Marie Dowe and the cast will follow the screening.

To conclude the evening, the festival will honour multi-award-winning filmmaker Fredi ‘Kruga’ Nwaka by introducing a new award category: The Fredi ‘Kruga’ Nwaka Creative Award, which celebrates his dedication to supporting young filmmakers from disadvantaged backgrounds. Additionally, the finalists of The Brixton Film Festival Pitch X Competition will be announced.

Lisa Anderson, Managing Director of Black Cultural Archives, said: "We are thrilled to partner with The Brixton Film Festival. Engaging with young people and amplifying their stories aligns perfectly with our ethos. Our mission is to collect, preserve, and celebrate the histories of African and Caribbean communities in the UK while inspiring individuals, communities, and society as a whole."

Tickets and Further Information

With all proceeds supporting emerging filmmakers, attend The Brixton Film Festival on Friday, 6th December 2024, at the Ritzy Picturehouse in Brixton to celebrate the future of filmmaking and community storytelling. Click here to secure your tickets now.

BCA’s Lisa Anderson wins Leadership Award

BCA Managing Director, Lisa Anderson receiving her Leadership Award | Credit: The PRECIOUS Awards

The Black Cultural Archives (BCA) is proud to announce that its Managing Director, Lisa Anderson, has been honoured with the Leadership Award at the prestigious Precious Awards 2024. The ceremony, held on Friday, 15 November, celebrates the remarkable achievements of Black women in business and leadership across the UK.

Now in its 18th year, the Precious Awards spotlight trailblazers making an indelible impact in their respective fields. This year’s Leadership Award acknowledges Lisa Anderson’s outstanding dedication to preserving and celebrating Black British history and culture through BCA.

Speaking about the award, Lisa Anderson said:
"I am deeply humbled to receive this recognition. At the Black Cultural Archives, our mission is to amplify Black voices and share our stories, and this award underscores the importance of that work. It is an honour to stand alongside so many incredible women who are leading change in their communities and industries."

Since its founding in 1981, the BCA has been the UK’s only national heritage centre dedicated to collecting, preserving, and celebrating the history of African and Caribbean people in Britain. 

Insights from Research on the Jacqueline Creft Memorial Collection and the Grenada Revolution

This blog post introduces a research project on the Grenada Revolution conducted at Black Cultural Archives (BCA) across numerous days in July and August 2023 by researchers from UCL, as well as a public event hosted at BCA in October 2023 (you can read more about this in our other blog post). Two key outputs were produced including a Finding Guide that details the content and context of the Jacqueline Creft Memorial Collection, and a spreadsheet detailing the contents of tape recordings stored in the ‘Radio Free Grenada’ folder. These documents were produced to aid researchers and visitors at BCA navigate the collection. They are detailed below, along with reflections from the researchers about conducting the research.

Tape cassettes stored in the Radio Free Grenada folder of the Jacqueline Creft Memorial Collection (CREFT/1)

Producing the Finding Guide and Radio Free Grenada Spreadsheet

One of the central motivations and intentions behind this research project was to make the collection of materials more accessible to the public. Rather than simply conduct archival research to develop or complement current research produced in the university for discussion by academics and students. The project was also orientated around opening up the Jacqueline Creft Memorial Collection to the public through research-informed practices of cataloguing and recording. Central here was our work on the Radio Free Grenada cassette tapes, a set of physical and now digitised audio recordings of interviews with Grenadian and Caribbean educators, writers, and workers conducted by Chris Searle in Grenada during the revolution. The Radio Free Grenada folder also contains audio recordings of Grenadian Calypso music produced and played on the airwaves in Grenada during the revolution. Calypso was an important mode of social and political expression during the revolution, and lyrics often included messages of support for the revolution or warnings about the threat of US destabilisation.  

Although this project took place in summer 2023, it is important that people understand that this collection remains at BCA where the audio recordings and publication are available for researchers and visitors to listen to and look at when visiting the reading room. Several of the interview recordings are also published in copies of the Free West Indian newspaper and the pamphlet ‘"Is Freedom We Making": The New Democracy in Grenada’ produced by Chris Searle and Merle Hodge for the People’s Revolutionary Government of Grenada in 1981.

As part of the project, we also produced a Finding Guide for the collection and other material related to the Grenada Revolution housed at BCA. If you aren’t familiar with the key dates and events of the revolution, or you just want to learn more about it before viewing materials in the archive, you may find the Finding Guide useful.

Photographs from the Jacqueline Creft Memorial Collection in BCA’s Reading Room (2023)

What was it like to conduct research on the Grenada Revolution and the Jacqueline Creft Memorial Collection?

Making the Radio Free Grenada Spread Sheet was more akin to ‘heartwork’ for me than it was research work. Working with Jasmine and Jacob as a co-researcher provided me with the chance to have an intimate engagement with the archival histories and representations of the Grenada Revolution. The Jacqueline Creft Memorial Collection is unique in that is more akin to an audio-visual archive than a traditional or exclusively document-based collection, comprising cassette tapes, newspapers, and recorded oral histories among other material - Nathaniel Télémaque

Working on the Grenada Revolution project was a powerful reminder of the importance of engaging directly with archives. Spending time in the reading room made me fully appreciate BCA as a local resource, as well as the range of materials they house. Engaging with The Jacqueline Creft Memorial Collection allowed me to explore the perspectives and narratives that emerged directly from those at the heart of the Revolution, unfiltered by any other lens. One of my most significant takeaways was the ability to think across and between resources – a real strength of this collection that I encourage others to explore. The collection invites you to listen to the voices and sounds of the revolution from Radio Free Grenada, and pair this with the words and thoughts shared in the Free West Indian newspaper. As you familiarise yourself with these materials, you are also being transported to the Caribbean, guided through Grenada, Carriacou, Belize, and Cuba, to connect the Revolution’s dots. From a research perspective, this also countered the tendency to analyse events in isolation, offering a broader picture that enriched my experience of working with this collection alongside Jacob and Nathaniel - Jasmine Roberts

It has been a pleasure and privilege to work through and document the Jacqueline Creft Memorial Collection at Black Cultural Archives. Revisiting the Grenada Revolution through the newspapers, photographs, and sound recordings stored in the collection offered a unique historical perspective on this important geopolitical event and centred the everyday experiences and contributions of ordinary Grenadians to education programmes, farming co-operatives and other revolutionary practices. We hope the documents we have produced will help and support future visitors and researchers keen to learn more about the Grenada Revolution navigate the collection effectively – Jacob Fairless Nicholson

 If you would like to discuss any aspects of this blog post in more detail, we would love to hear from you. Please email Jacob at jacob.fairless.nicholson.14@ucl.ac.uk

By: Nathaniel Télémaque, Jasmine Roberts, and Jacob Fairless Nicholson

A Look Back to the ‘Grenada Revolution Archival Showcase’ in October 2023

Connie Bell (Decolonising the Archive) in conversation with Chris Searle

In summer 2023, three researchers from the UCL Department of Geography began a project investigating archival material from the Grenada Revolution 1979-1983 stored at Black Cultural Archives (BCA) in the Jacqueline Creft Memorial Collection, a collection dedicated to Jacqueline Creft, Grenada’s Minister of Education from 1980 to 1983. In October 2023, a public audience gathered at BCA to hear findings from the research. The event formed part of BCA’s Black History programming for 2023 and showcased archival material on the Revolution recently deposited at BCA by Chris Searle, an English teacher and writer who worked in Grenada during the revolution as a coordinator of a teacher-training programme ‘NISTEP’.

This blog post recalls the event from the perspective of the researchers involved, Dr Jacob Fairless Nicholson and Jasmine Roberts from the UCL Department of Geography, and Dr Nathaniel Télémaque from the Department of Geography at King’s College London. You can read more about some of the contents of the collection – and the resources produced as part of the project to help researchers navigate it – in our second blog post on ‘Remembering the Grenada Revolution’ or by visiting BCA at 1 Windrush Square to conduct your own research.

Nathaniel Télémaque and Jasmine Roberts address the audience

Why is the Grenada Revolution important?

October 2023 marked the fortieth anniversary of the end of the Grenada Revolution. Grenada gained its independence from the United Kingdom in 1974, and the Revolution was important because it sought to tear up the lasting effects of British colonial rule. This included in areas such as healthcare, education, and infrastructure, all of which had suffered chronic underinvestment before and after Grenada gained independence. The Revolution is also important because it was the first socialist revolution in an English-speaking Caribbean nation, after other revolutions in French-speaking Haiti and Spanish-speaking Cuba. 

Tell me about the ‘Remembering the Grenada Revolution’ event

The public event in October 2023 was held to share findings from the research and discuss the significance of the Jacqueline Creft Memorial Collection. Audience members were invited to reflect on the legacies and significance of the Grenada Revolution forty years on from its tragic demise, including in relation to themes such as decolonisation, women’s roles in liberation struggles, and the importance of education for the Grenada Revolution. Before formal introductions, attendees were treated to audio recordings of Grenadian Calypso. The event then featured an ‘Archival Showcase’ where the researchers on the project shared their findings and played clips of interviews with Grenadian citizens and politicians stored in the archive. After that, Connie Bell chaired a fascinating Q&A discussion with Chris Searle covering the educational programmes pioneered by Jacqueline Creft, the revolution’s healthcare initiatives, the importance of internationalism, and the significance of the Grenada Revolution to the Caribbean region. You can hear more about the event in the excerpts from the researchers below and listen again via the recording.

Attendees at the Remembering the Grenada Revolution event

I greatly appreciated contributing to dialogues held at this event, as it was a chance to reflect on the archival encounters I collaboratively experienced with Jasmine and Jacob during the summer of 2023. During the archival showcase, audio clips from cassette tape recordings were played. These acted as prompts for reflection and discussion that weaved together historical and contemporary accounts of the nuanced lifeworlds of the Grenada revolution itself. Looking back on it now, to be in dialogue with Chris Searle, Jasmine, Jacob, Connie Bell and all of those who attended was a beautiful and rare experience and a testament to the need to liberate archival collections and find out what happens when we speak to living histories. Our engagement with this collection last summer is just the beginning, this archive is freely available to any interested member of the public and we would highly encourage you to visit the BCA’s library and reading room and engage with its collections. There is so much we can learn from the past, which will inform our present and future understandings of people and places - Nathaniel Télémaque

Remembering the Grenada Revolution’ felt like an intimate space to reflect on how the revolution has been memorialised, both in public discourse and private memory, on its fortieth anniversary. The showcase went beyond the presentation of Jacob’s, Nathaniel’s, and my research findings and became a space where both the panellists and audience connected through memories, stories, and ties to Grenada. This exchange allowed the event to play a significant role in demystifying archives, moving beyond a view of archives simply as history preserved. Instead, the showcase highlighted how archives actively bridge the past with the present and emphasised the ongoing influence of the revolution in both memory and sentiment. The showcase also carried an intergenerational dimension, akin to a learning exchange, most evident in the presence of diasporans. As a researcher, I was particularly struck by the synergies that emerged – connections that could only be understood through personal experience.  Most importantly, the event’s significance in holding space to remember embodied the spirit of the Grenada revolution itself – a spirit rooted in collaboration and community. This moved our work beyond an academic bubble and our time spent in BCA’s reading room, and embraced a more people-facing, people-centred approach that prioritised meaningful dialogue and shared understanding – Jasmine Roberts

This event offered a reminder of the importance of opening up archival collections to public audiences. Through a multi-sensorial format that included recorded music, panel discussion, and interaction with physical and aural material from one of BCA’s collections, attendees heard from a key internationalist figure in the revolution and were encouraged to reflect on the revolution’s significance. Forty years on, the Revolution’s spirit of collective, community action and unwavering commitment to anticolonial and anti-imperial struggle feel as urgent and necessary as ever - Jacob Fairless Nicholson

From left to right: Jacob Fairless Nicholson, Chris Searle, Nathaniel Télémaque and Jasmine Roberts at the Remembering the Grenada Revolution event

The audio recording lasts approximately 1hr 45 minutes. Please note the questions posed during the Q&A at the end of the recording are sometimes inaudible.

The ‘Remembering the Grenada Revolution’ event was sponsored by the Institute of Advanced Studies, UCL. If you would like to discuss any aspects of this blog post in more detail, we would love to hear from you. Please email Jacob at jacob.fairless.nicholson.14@ucl.ac.uk

By: Nathaniel Télémaque, Jasmine Roberts, and Jacob Fairless Nicholson

Let's talk about it: Reparations

Take a look at the topic of reparations through BCA’s collections

Discussions on Reparations have permeated the public sphere, whereby they are now diffusing across different communities and cultures. Many assume that Reparations is a new topic that circulates in Black communities, especially after the ‘awakening’ that took place in 2020 during the Black Lives Matter resurgence after George Floyd’s murder. Still, BCA’s collections show this is anything but a new topic. In addition, many think that Reparations is only a call for monetary compensation, but in fact Reparations in totality is the demand for recognition, apology and action, to repair the damage done to Black communities by institutions, governments, families and companies in the past and the present. In this blog, we look at what some of BCA’s collections say regarding Reparations.

Accountability

Recently, the Gladstone family came to the forefront of the conversation, after they visited Guyana in 2023 to formally apologise for their ancestor’s actions (rooted in plantations) and have pledged £100,000 towards researching the impact of slavery. Furthermore, they have joined the Heirs of Slavery group, acknowledging that they are beneficiaries of injustice.

Whilst their ancestor Sir John Gladstone (1764–1851) should have been held accountable for his actions in his lifetime, his family have taken on this responsibility by proxy, due to actively benefitting from wealth acquired from such atrocious activities. Although the atrocity cannot be reversed, the Gladstone family have demonstrated what it looks like to take accountability. They have chosen to break the cocoon of denial and obscurity that most beneficiaries of enslavement willingly embrace.

Letters to John Gladstone & Co, Liverpool, is a small collection held at BCA comprising letters to Gladstone from his agents in Jamaica, Guyana, Mauritius and Australia. Wholly taken up with practical matters relating to trade, export and improvements in farming, it is only on the third page of one letter that brief reference is made to the agent’s satisfaction with ‘the working of the negroes.’ The letters indicate a business that is continuing to thrive just two years after the Emancipation Act came into force. This success is not surprising given Gladstone received substantial compensation for the loss of enslaved labour. 

Fair Prospect, Jamaica, 4th February 1840. BCA/GLADSTONE

The ‘right’ of former enslavers to compensation was generally accepted at the time. What was entirely ignored was the right of the formerly enslaved people to recompense. Even in modern times, many responses to the call for Reparations consider it a moral rather than a legal right, arguing that slavery was not seen as wrong at the time. The extract of a letter from the Minister of State for Overseas Development and Africa at the Foreign Office to the MP Andrew Smith below embodies this opinion. 

BCA/6/15/4 Page 1, Letter from the FCO to the MP Andrew Smith, 13 August 1993

However, the letter also evidences that the Organisation of African Unity had passed a resolution that year to press for Reparations for both slavery and colonial exploitation, showing that pressure was being brought to bear on former colonial governments before the current time. Thus, the call for Reparations is by no means a new one.

The Psychology  

After the Windrush scandal, the undeserved treatment that migrants from the Caribbean received highlights the fact that perceptions surrounding African descendants are still skewed which to some extent can be attributed to the empire and colonialism. This is illustrated by popular literature (that is still taught in schools today), that boldly portrays Black individuals as animals and savages like that described in the Sign of the Four by Conan Doyle, dipped in orientalism and the illogical fear of the ‘other’. This links me to the point that Reparations are also about destigmatising and reforming the image of the Black person within the minds of people who have been indoctrinated.

This is highlighted specifically by the ASSATA collection at BCA whereby Sister Nzingha Assata focused on educating Black people within Britain on their African heritage and history. One thing that particularly highlights the psychological legacy of slavery and colonialism is in the introduction to an article entitled  ‘Race in the Curriculum’ whereby a six-year-old child states,

“I know about colours, pink and white and everything, but I didn’t like black people and I didn’t know I was one of them.”

“One day I bit this little white girl and Mrs. B said to me ‘You only did that because she’s white and you’re black.’ And all day I kept thinking about it- that I was black”.

‘Race in the Curriculum,’ Education & Community Relations, March/June 1977, Vol. VII No.2. BCA, ASSATA/5/2

The dissociation from one’s culture, history and ethnicity is a very real consequence of slavery and colonialism. Frantz Fanon highlights this in his book Black Skin, White Masks where he talks about a cloud of inner turmoil that follows the Black man around due to his inability to reconcile who he knows he is and who he is supposed to be according to society's projections.

The Trendsetters

In addition, the African Reparations Movement (ARM), set in motion by Bernie Grant in 1993 stands as a great overview of the aims and objectives of Black people within the movement in Britain.

BCA/5/1/39

Below are two significant quotes found in the ARM Collection at BCA.  

“…his calls…for the government to help black Britons who wanted voluntary repatriation and for some of the crown Jewels to be sold to compensate African countries for activities of slavers…”

Bernie Grant, quoted in Independent, Sunday 12 December 1993. BCA, ARM/1.

“I thought, there are so many troubles in life about jobs and money that at least if I went to Barbados, I could get rid of racism and be treated as a first-class citizen. It would be one less hurdle to jump”.

Linda Deane, quoted in Independent, Sunday 12 December 1993. BCA, ARM/1.

The movement did not call for the wholesale repatriation of people of African descent, but recognised that it was the right of any individual to be financially assisted to return to the land from which their ancestors were forcibly removed, should they so wish. In this way, Reparations is a call for compensation for past wrongdoings and is also a clear acknowledgement of events that took place. Furthermore, the mention of the crown jewels serves as a reminder that a number of the jewels found in royal collections, or artefacts like the Benin bronzes in the British Museum can be traced to Africa.

Linda Deane’s experiences of the obstacles of racism and on being treated as a second class citizen in Britain, the country of her birth, speaks to the suffering that individuals in the African diaspora continue to face. Displacement of people, their descendants, their culture, heritage and physical artefacts all attest to ongoing generational trauma. Compensating Black British citizens would not atone for the many atrocities done to their ancestors but would enable these communities to begin the healing process.

Bernie Grant's calls for Reparations fell on deaf ears and were quite viscerally attacked by the mainstream media. However, ARM continued to set out Reparations in terms of the ongoing damage, and the scope of the meaning of repair, as well as how to achieve it.

“When we speak of reparations we speak of repair. We wish to repair the damage done to us psychologically, economically, historically, and financially. When we demand the return of our Artefacts stolen, misinterpreted, and abused by Museums and collectors. We demand the creation of free and fair commodity markets for African Goods and the ending of cash Crops for Europe and not local communities.”

BCA, ARM/1, Reparations for Africa, Linda Bellos, 13 May 1996. 

“When we have raised the issue of Reparations publicly we have encountered a European concern solely with money. They ask how much will it cost?”

“We consider this an offensive question which yet again reduces African peoples to the level of commodities. Is it not enough that Europe created a whole social institution out of buying and selling African people? Now they can only see us in terms of money.”

BCA, ARM/1, Reparations for Africa, Linda Bellos, 13 May 1996.

The ARM collection also includes a twelve-page publication presented to the OAU Reparations conference setting out a robust legal framework to effectively challenge the notion that there is no legal basis for Reparations.  

Lord Anthony Gifford, Q.C., ‘The Legal Basic of the Claim for Reparations’, Kingston, 1993. BCA, ARM/1

ARM and their collaborators demonstrated how important it is for Black communities to be the ones to lay out the terms and conditions on which Reparations should be made, as only they as victims can quantify the damage.

The Assata collection shows how Sister Nzingha Assata took steps to educate the community through workshops such as In Praise of Our Ancestors – an evening of lectures, exhibition, discussion and poetry which focused on African history pre and post-slavery, the journeys taken by enslaved persons to the West Indies and the ramifications of this. The overall idea was to equip the community with the tools and knowledge to demand justice but also to centre their identity.

BCA, ASSATA/5/3, Flyer, In Praise of our Ancestors, Remembrance Day, 6th August 1994

Clips of an interview of Sister Nzingha Assata talking about the importance of education with regards to the Reparations movement and why it is important for the communities affected to be the ones to demand how Reparations should be handled. Recorded by Jonita Osango, BCA, May 2024.

To conclude:

Reparations is not a topic that can be achieved through one conversation or tokenistic gestures. It is a mission that is going to take time. Activists and campaigners before us have shown that Reparations are about repairing communities throughout the generations, to reclaim what has been stolen and continues to be hidden. The formation of groups like the All-Party Parliamentary Group for Afrikan Reparations may indicate that the tide is changing and that pressure is being successfully brought to bear on governments to take the matter into serious consideration, and begin the process of implementation.

by Jonita Osango

Jonita is an undergraduate at Goldsmiths, University of London, studying History with Politics. She interned at BCA in Spring 2024, and produced this blog after researching our collections.

"I wanted this blog post to serve as a reminder to people in the African Diaspora of their history and also to honour people within this community who have paved some of the way for newer generations. The team at Black Cultural Archives provided a supportive space for me to do so, highlighting the importance of heritage and archive sites. In turn, I hope this blog also encourages readers to take a visit and look through their rich collection material".

Email archives@bcaheritage.org.uk to book a place in the reading room to view the collections.

MENTAL HEALTH AWARENESS WEEK 13-19 MAY 2024: Movement: Moving for Our Mental Health

A Dance of Resilience: Embracing Our Histories and Futures

In the vibrant tapestry of the Black diaspora, each thread tells a story of struggle, resilience, and triumph. As we step into Mental Health Awareness Week this May 2024, under the theme "Movement: Moving for Our Mental Health," we find ourselves at a unique crossroads of history and healing, a place where Black Cultural Archives' vision to collect, preserve, and celebrate the histories of people of African and Caribbean descent in the UK intersects with our journey towards mental wellness. This week, we embrace the values of reflect, disrupt, empower, ignite, and champion, weaving them into the narrative of our collective and individual mental health journeys.

Reflecting on Our Collective Resilience

Our history is not just a backdrop; it's the very stage upon which we confront our mental health challenges today. The stories preserved by the Black Cultural Archives remind us of our ancestors' strength and resilience, offering both solace and strength. Reflecting on our shared past, we're reminded that our struggles with mental health are not signs of weakness but echoes of the enduring spirit that has carried us through centuries of adversity.

Disrupting the Stigma

Mental health stigma has long cast a shadow over our communities, often silencing conversations and isolating those in need. This week, we challenge and disrupt this status quo by moving together—literally and metaphorically. Through movement, whether it's dance, walking, sports, or any physical expression, we not only celebrate our cultural heritage but also highlight the importance of mental and physical health interconnectedness. Let's dismantle the barriers to mental health care and advocate for spaces where our vulnerabilities are met with understanding and compassion.

Empowering Through Movement

Physical movement has profound implications for mental health, offering a tangible pathway to healing and empowerment. By incorporating movement into our lives, we're not just improving our physical well-being; we're also making strides toward emotional and psychological resilience. Community-led initiatives, like dance classes that celebrate African and Caribbean traditions or group walks in our local neighbourhoods, serve as powerful platforms for empowerment, fostering a sense of belonging and community strength.

Igniting Change in Our Approach to Mental Health

This Mental Health Awareness Week let's ignite a new approach to mental wellness within our communities. By integrating the joy, strength, and diversity of our cultural expressions into our mental health strategies, we create a more inclusive and effective framework for healing. Let's champion innovative programs and resources that address our unique needs, ensuring that mental health services are not only accessible but also culturally competent.

Championing a Future of Inclusivity and Well-Being

Our vision for the future is one where the histories and contributions of the Black diaspora are not only recognised but also celebrated as integral to the fabric of British society. In championing this vision, we also advocate for a mental health landscape that is equitable, inclusive, and responsive to our communities' needs. Use this week to foster dialogue, build partnerships, and advocate for policies that support mental health equity.

A Call to Movement

As we move through this Mental Health Awareness Week, let our actions reflect the values of the Black Cultural Archives—honour our past, challenge the present, and build a future where mental health is prioritised and preserved as part of our cultural heritage. Let us dance, walk, and move together, not just for our physical health but for our mental well-being, creating a legacy of strength, unity, and wellness for generations to come.

In this journey, we are not alone. We are part of a vibrant, dynamic community that has always found ways to overcome, to celebrate, and to thrive. We should not forget pioneers like Melba Wilson and many others to follow. Born in 1947 in Virginia, USA Wilson trained as a journalist, gaining a degree in Mass Communication in 1977. She moved to the UK later that year and continued her career as a journalist, specialising in health reporting. Concurrently Melba Wilson also began to write more politically focused pieces about Britain’s Black communities and became a part of the burgeoning Black Women’s Movement. Her work in the Brixton Black Women’s Group, a groundbreaking socialist feminist organisation (1973-1985) alongside her broader involvement in campaigning for the rights of Black women, particularly in the field of healthcare, merited her an OBE in 2007 for her services to healthcare. https://collections.blackculturalarchives.org/repositories/2/archival_objects/6548.

We should continue to move forward with purpose, embracing our collective power to transform the narrative around mental health in the Black diaspora. Together, we reflect, disrupt, empower, ignite, and champion a brighter, healthier future for all.

This Mental Health Awareness Week, let us recommit to moving for our mental health, inspired by the rich tapestry of our histories, and empowered by the collective strength of our communities. Let us challenge the existing narratives, shine a light on the pathways of resilience, and celebrate every step, dance, and movement toward mental wellness. In doing so, we honour our ancestors, support our contemporaries, and lay a foundation of hope and health for the generations that will follow.

Lorna Hunte

Volunteer, Black Cultural Archives

About the author:
Born and raised in the vibrant cultural mosaic of London, I am passionate about exploring the intricate tapestries that weave together culture, history, and art. I enjoy research and writing, and I have a strong interest in the interplay between the past and present and how cultural heritage, stories, and artistic expressions shape today's social behaviours and beliefs. Through my writing, I aim to deepen public appreciation and cultivate a more informed and reflective society.

Dispelling the Myths: The True Story of the Windrush Generation

In the tapestry of British history, the Windrush Generation holds a place of profound significance, emblematic of the post-war period's societal changes. Yet, around this pivotal chapter, a series of misconceptions and inaccuracies have woven a narrative that often distorts the true impact and legacy of this generation. Black Cultural Archives seeks to illuminate these historical truths, dispelling the myths that cloud our understanding of the Windrush Generation and the iconic ship itself, HMT Empire Windrush.

A Legacy Predating Windrush

Contrary to the popular belief that the Windrush passengers marked the beginning of Black presence in Britain, our nation's history is rich with Black heritage dating back centuries. The Windrush Generation's arrival in 1948 is a cornerstone of modern British multicultural society, yet it is by no means the inception of Black history in this country.

Beyond a Single Voyage

The term "Windrush Generation" has mistakenly been interpreted to refer exclusively to those aboard HMT Empire Windrush. In truth, it encompasses a broader narrative of Caribbean migrants who arrived between 1948 and 1971, invited by the British government to aid in the country's post-war reconstruction. Their journey was not confined to a single ship or voyage but spanned decades and numerous vessels.

The Reality of Legal Arrival

Mischaracterisations of the Windrush migrants as "illegal immigrants" are not only inaccurate but unjust. These individuals were British subjects, invited to the UK, with every legal right to work and reside in the country. The challenges they faced, including the Windrush scandal, were not due to their immigration status but systemic failures and misapplication of policies by the British Home Office.

Facing Adversity in the Motherland

Narratives that downplay the discrimination and hardship faced by the Windrush Generation upon their arrival do a disservice to their resilience and contributions to British society. They encountered not a welcoming embrace but racism, exclusion, and a struggle for equality—a testament to their strength and perseverance.

The Multifaceted Windrush Ship

The MV Empire Windrush, often solely associated with the 1948 voyage, had a history that extended beyond carrying Caribbean migrants. Originally a German ship repurposed after World War II, it served varied roles, reflecting a complex history that mirrors the multifaceted stories of those it carried to Britain's shores.

As custodians of Black British history, Black Cultural Archives is committed to preserving and promoting the authentic stories of the Windrush Generation. By confronting and correcting these misconceptions, we honour their legacy and ensure that the richness of their contributions to British society is celebrated and remembered accurately.

Lisa Anderson

Managing Director, Black Cultural Archives

Unsung She-roes of History: The Trailblazing Trio Redefining Race, Gender, and Power in the UK

By: BCA Volunteer Lorna Hunte

Cover of ‘The Heart of the Race’ by Beverly Bryan, Stella Dadzie and Suzanne Scafe

In a world where the dominant narratives of history frequently marginalise the voices and contributions of minority groups, the tales of Beverley Bryan, Stella Dadzie, and Suzanne Scafe emerge not just as stories of inspiration but as powerful calls to action that challenge us to reimagine the canvas of history. Their contributions, pivotal to the advancement of racial and gender equality, beckon us to confront a glaring omission in our collective memory. This oversight begs a critical reflection: Why have these trailblazing women not been a central part of our historical consciousness? 

Beverley Bryan, a stalwart in the British Black Panther movement of the 1970s, ingeniously fused activism with education, pioneering a transformative approach to teaching that centred on the lives and histories of Black children in the UK. Her dedication was not just to challenge societal injustices but to cultivate a space where Black children could see themselves in the stories that shaped their education. Bryan's work is a testament to the power of education as a tool for racial and social justice, embodying the Black Cultural Archives’ mission to empower and disrupt. Her legacy invites us to ponder, in her own words, "the importance of understanding our history, not just to know where we come from, but to arm ourselves for the present and the future" (Archival Reference: BCA/BB/1975). 

Stella Dadzie a beacon in the feminist movement and the struggle against racism and sexism, co-founded the Organisation of Women of Asian and African Descent (OWAAD), offering a crucial platform for voices that had been doubly marginalised. Her work, particularly through the seminal "The Heart of the Race: Black Women's Lives in Britain," co-authored with Bryan and Scafe, shines a light on the intersectional battles faced by Black women. Dadzie's advocacy in education and her unyielding fight for equality challenges us to reflect on her assertion that "our struggles are not isolated, but deeply interconnected" (Archival Reference: BCA/SD/1982). 

Suzanne Scafe, through her scholarly and activist work, has profoundly shaped the discourse around Black women's literature and Black British cultural studies. Her exploration of race, gender, and cultural identity has not only enriched academic fields but also offered new perspectives on the lived experiences of Black women in the UK. Scafe's dedication to uncovering these narratives aligns with the Black Cultural Archive's values of reflecting and championing the histories that have been overlooked. Her encouragement to "dive deep into the stories of those who came before us to understand the strength we carry into our own battles" (Archival Reference: BCA/SS/1989) resonates as a clarion call for introspection and action. 

The legacies of Bryan, Dadzie, and Scafe serve as powerful reminders of the intricate ways in which race, gender, and class intersect, shaping the contours of individual and collective experiences. Their unwavering commitment to education and community organizing underscores the transformative potential of knowledge and activism to empower marginalised communities. By embracing their teachings, supporting inclusive practices, and championing community activism inspired by their models, we not only honour their contributions but also engage in the ongoing struggle for equality and justice. 

By engaging with and celebrating the stories of Beverley Bryan, Stella Dadzie, and Suzanne Scafe, especially during Women's History Month, we challenge the prevailing narratives that have historically sidelined the contributions of Black women. Their enduring legacy is a beacon that not only illuminates the past but also guides future generations in the relentless pursuit of social justice. By recognizing and building upon their groundbreaking work, we commit ourselves to a future where the richness of our collective history is fully acknowledged and celebrated for its complexity and richness of Black British history. 

Lorna Hunte

***

Creating Black Cultural Archives’ Podcast Series

By Milan Wright, BCA Intern

Behind-the-scenes of creating the Black Cultural Archives podcast

Exciting times are upon us, Black Cultural Archives (BCA) is launching its very own podcast series, and I am the creator! As a student from the University of Leeds on a nine-month placement, I had the exciting and daunting task of making the most of my limited time whilst creating something new and of my own volition: a podcast series. 

The concept came on my first day at BCA. A podcast was on the cards to elevate the impact of Seeing Ourselves, a project that aims to increase the representation of Black and Global majority persons in the arts and heritage sector. Being an avid podcast listener and ready for a challenge, I volunteered to make it my main project, having no clue about the behind-the-scenes of creating a podcast but having (almost) all the faith that I would figure it out!  

The first step was the structure. The brief was to create a series about the arts and heritage sector to help young people with their career prospects. But how? As a young person who looks to media to support my personal and professional life, I thought of a simple interview between a host and a successful professional in the industry who would be willing to delve into the ins and outs of their journey and the industry at large. Wanting to make this project a success, we leaned on the expertise of our funders, Elevate Lambeth.  We requested advice from some of the “Elevators” who knew how to approach the podcast to get young people to listen and I presented the outline and our aims for the podcast. The feedback was to make it feel professional, to utilise our community, to ensure guests get into the nitty gritty of how they kick-started their careers, and to show our audience the multitude of roles one can have in the same industry e.g. in the entertainment industry, you can be an actor, but also a director, showrunner, costume designer, gaffer, set designer, prop master etc.  

The natural next step was to create a script outline that would touch all aspects of one’s career journey, starting at the very beginning, childhood. Then it was to choose the guests who had a wealth of knowledge and advice but didn't feel inaccessible or hard to reach. Luckily, there are plenty of established Black professionals in and around London that came to mind and when I was stuck, the internet was my best friend. Black Cultural Archives have great connections with the community, and the team were lovely enough to put me in touch. With the guest list selected, the next challenge was finding a host. There were two finalists and we decided to go with Binta Yade, a cultural leader with Poetic Unity, an organisation that Black Cultural Archives is in partnership with and whose previous experience included interview podcasting – a perfect match! 

Podcast Production Programme with Clovis from Oxygen Arts

Since this was part of the Seeing Ourselves project, which is about workforce development, it felt necessary to include the community in the process and so the Podcast Production Programme was born. The idea around this was to recruit young people from the community to come to BCA and learn how to create a podcast from scratch and then record and edit our episodes, making them our production team for the series – also helpful for me! It would be something they could put on their CV and take with them to create other projects. We partnered with Oxygen Arts for the training, and I created the application form, kept track of the applicants, and conducted the interviews that would eventually select the final 12; all this for the first time. I also created social media content for the programme, including the reels, stories, and the programme poster.

The 12 young people we recruited were from Lambeth, South London, East London, and the surrounding areas. They had the opportunity to play with the podcast equipment, learn how to set it up, take it down, record and use editing software – all for free! This programme was also a great opportunity for the young people to meet other creatives in the same boat as them, early in their careers with so many dreams and all the potential. Deciding the 12 participants also meant thinking about how they would blend and mingle with each other, it was more than just choosing the right people for BCA, but also about how it would benefit the young people in their personal and professional lives. I quickly became a professional party planner and host, contemplating how each would get along as small groups and as a whole. To my delight, it worked!

After each session seeing everyone mingle and exchange contacts with promises of supporting each other’s creative events was amazing. For me, meeting these people, my peers, and navigating the weird balance of being both a peer and a supervisor whilst creating my own London network of creatives and academics was a happy bonus that came out of this programme and something to take with me once I leave.   

We had the challenge of linking the podcast back to the archives, beyond just another interview and careers podcast. We came up with the great idea of including historical introductions that took the listener back to a moment in history where a Black person was a successful musician or actor before segueing to the main interview. This became a creative writing opportunity for our young people to visit the archives, write an introduction and edit it how they saw fit, giving them full creative control. This would also make for an empowering story to listen to for a young professional – learning that our ancestors walked this path before and succeeded, giving us all the confidence that we can do the same and more.   

Choosing the guests was both fun and stressful. We had our ideal list but not all responded, and some were not accepting speaking engagements. Learning how to pivot and adjust was the biggest learning curve and thanks to this project, I am more familiar and comfortable with it now. Everything from communicating with the guests, booking them in with us and taking care of them during their time at BCA was my responsibility, which I'm proud of. 

Binta Yade, Cultural Leader

Meeting our incredibly talented host, Binta Yade and working with her to create the guests' portfolios and personalised questions was fun and thought-provoking. Watching her interview people first-hand and engage with the guests was like magic. Seeing my idea being brought to fruition and listening to the depth and flow of the conversations, I found myself, in those moments, looking at my life and learning from the guests, which are things I will take with me forever.   

In alignment with the community-first compass we had for this project and with the helpful tip from our friends at Elevate Lambeth, I reached out to Raw Material in Brixton to commission a young creative to produce our intro and outro music. A bit of back-and-forth and some lost emails later, we set up a meeting and briefed young creative, Erica Boateng to create a few drafts of chill, uplifting, afro-centric instrumentals. We set our hearts on one and this became our official music for the podcast. All of sudden all the pieces began to come together. Curating the schedule for the post-production sessions and listening as the individual recordings came together to form a seamless episode was a beautiful culmination of the ideas I had back in October.   

The practical side for me was just as exciting. I worked with BCA’s marketing team to create a strategy for promotion and maximum engagement, selecting and communicating with micro-influencers to help widen our reach and envisioning how they can help share our mission was adventurous. Not to mention having creative control over the podcast artwork and editing the historical introductions was a wonderful opportunity for me to explore. This whole project has been a massive growing experience for me and one that has tested my creativity, competence, and imagination. Everything from the admin to the execution of this podcast series has been birthed and steered of my own volition. When it launches on Wednesday, 19th July 2023, I hope the public will resonate with the content and become inspired by the words of our guests to get up and go after what you want; I know I will!

---

Biography –

Milan Wright is a student at the University of Leeds. She is an undergraduate student in Philosophy and has aspirations to become a writer focusing on topics of neo-colonialism and emancipation. Milan is pursuing a career in art & history curation and consultancy for art galleries & museums across the UK and worldwide.

LISTEN ON SPOTIFY

Researcher-in-Residence: Miranda Armstrong

Could you introduce yourself, Miranda?

From Miranda’s research-based graphic pamphlet, Beyond the myth: single black mothers and their sons. Illustration by Chikaboo Designs 

I’m a sociology researcher and a Black Londoner, a child of migrants, and a single mum. This background informs my research interests in unequal experiences of cities and under- and misrepresented experiences of motherhood.  

Another thing I’m passionate about is how academic research can be communicated in a range of accessible and engaging ways using creative mediums. Developing the online exhibition Black Mothers in the Forefront: Struggles and Resistance in the 1970s in collaboration with BCA has been a great way to explore that! 

Your research residency at BCA was related to your work on the study, Archiving the Inner City: Race and the Politics of Urban Memory. Can you tell us about it?  

Sure! Archiving the Inner City is an international project across London (mainly focusing on Brixton), Paris and Philadelphia that focuses on experiences of historically black neighbourhoods during the late 20th century. It analyses the alternative understandings of such places, which emerge when you engage with less-heard perspectives, including institutional and personal archives. The project also links the past to the present, such as the various efforts to preserve Black history and to recognise the many contributions of African and Caribbean heritage people.

The Bronze Woman in Stockwell Memorial Gardens, envisioned and campaigned for by Cécile Nobrega, and based on her poem of the same name 

How do the themes you have explored in the online exhibition relate to your own research? 

My own research is on single black motherhood. What is thematically similar are the distinctive and unequal experiences of motherhood black women can have due to challenges created by things like racism, discriminatory immigration policies, and poor experiences of schools, police and health services. When researching the archives, it was wonderful to discover the mechanisms of support that were available, like a wealth of women’s organisations and centres that, due to current issues like austerity measures and gentrification, appear to be less available now. What has not changed is the tenacity, vision, and resourcefulness of many African-heritage and Caribbean-heritage mothers.

What has the process of researching the archives been like for you? 

It stirred up complex emotions! Working with both the oral history collection and archival materials helped to make the past more tangible. For me, it showed very clearly that the unequal experiences of African and Carribean-heritage people are a continuation of black people’s institutional experiences of the 1970s and 1980s. But learning about the responses from many people to these social conditions was heartening.

Was there anything unexpected you learned from researching the collections? 

One thing that was amazing to discover was the amount and variety of positive social action done by both women’s groups and community organisations: the establishment of neighbourhood women’s centres, the publishing of newsletters, the setting up of Saturday schools, the various campaigns for justice, to creating neighbourhood communal and social spaces to just be. There is this view that society improves and becomes more progressive as we move forward in time, but the collections showed me that there were actually some things about the 1970s that were special. 

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Biography –

Miranda Armstrong is a researcher and writer currently based at the University of York. She is a PhD candidate in the sociology department at Goldsmiths College. Miranda held the prestigious Economic and Social Research Council PhD scholarship, and has taught sociology and criminology at Goldsmiths. Her writing has been published by The Voice and Black Ballad, among other outlets. She is a contributing essayist to the pioneering anthology, Motherhood Untold (2020), and is author of the graphic pamphlet, Beyond the Myth: Single Black Mothers and their Sons (2021).

mirandaarmstrong.com

VIEW THE ONLINE EXHIBITION

bcaexhibits.org/mothers-in-the-forefront

BCA Career Spotlight: Project Assistant

“Abandon the idea that life has to look a certain way by a certain age.”

— Milan Wright

Spotlight on: Milan Wright

D.H. Lawrence’s articulation that ‘Life is ours to be spent, not saved’ is Project Assistant, Milan’s favourite inspirational quote and one that reminds her to always go for opportunities and put her ideas and opinions across, regardless of fears of being unqualified or saying, ‘the wrong thing’. This go-getter mentality allowed Milan, a philosophy student on her placement year at Black Cultural Archives, to be in the mix leading up to our recent ‘Transforming Legacies’ exhibition – picking up art with the curator, speaking to artists, and helping with the installation. This experience saw Milan interact with full-time artists, those paid to deliver their craft and live out their dreams, which cemented Milan’s conviction that the creative, not corporate world, is for her.

Since starting in October, she has worked hard to develop a podcast that will focus on workforce development within the arts and heritage sector and its accompanying training programme, which will equip young people with the skills needed to create podcasts and tap into the UK’s fastest growing medium for the dissemination of information. This process from inception to implementation has seen Milan research the various fields in the sector, invite industry experts to provide their insight on the programme, draft scripts to be used during episodes and create social media content to promote it all.

Currently, a considerable amount of Milan’s day, which begins with checking in with her line manager and answering any outstanding emails, is spent reviewing applications for the training programme, setting up the interview schedule, and compiling questions. She is also busy researching the significant role Black women from the Windrush generation played in building up the NHS, the unrecognised work their successors currently do, and the link to the current strikes for a blog post she is writing to commemorate Windrush 75.

Though in the early throes of her career, Milan is already keen to create a legacy and is facilitating a partnership between her university, a leading institution in the North of England, and BCA. She hopes this partnership will ensure students have online access to rich archival material regarding the Black presence and experience in the UK and begin adding to the very few centres for Black history which exist outside of London.

Her advice to individuals following the path she is paving would be to ‘abandon the idea that life has to look a certain way by a certain age’, as her immersion into the professional world has demonstrated that even those at the midway point of their careers are still ‘figuring it out along the way’. Milan believes imposter syndrome is experienced by everyone, with all of us experiencing doubts, anxiety and fears. Instead of viewing it as a negative, she embraces it and uses it as evidence she is stretching herself- something she will continue to do until her dreams are followed and her goals met.

BCA Career Spotlight: Administrator

Spotlight on: Almaz Anderson

“One day at a time”

— Lemn Sissay

Almaz is one of the newest members of the BCA team and finds it inspiring to work in an organisation where many Black women are in leadership roles – a rarity in the arts and heritage sector. Almaz starts her days by checking her calendar, responding to the latest email enquiries from members of the public, and ensuring that our stakeholders are kept abreast of developments regarding programming and exhibitions.

As an administrative assistant, Almaz spends much of her time doing admin processes and figuring out how they can be improved to benefit the organisation and facilitate collaboration between departments. A recent project of hers involved working cooperatively with the IT team to ensure technological uniformity across the organisation and that all staff members, existing and new, had access to all the programmes and software needed to successfully carry out their roles.

Since university, where she studied Film Studies and Screen Practice, a large part of Almaz’s career has been situated in the arts sector with an internship at MTV studios, a voluntary position at Black Filmmaker magazine, and a variety of roles at the British Film Institute before moving to Black Cultural Archives.

Almaz offsets the sure, stable hand her role requires with more creative pursuits such as writing, filming, and editing. With the small and hands-on nature of Black Culture Archives, she has the opportunity to help with projects centred around these hobbies and relearn and develop the associated skills.

In a demonstration that the personal is often professional, one of Almaz’s goals in 2023 is to ‘learn more about Black British history’, and given that she works at 'The home of Black British History', we are sure she is in the right place to achieve this objective.

“One day at a time” is a line from Almaz’s favourite poem by Lemn Sissay. Though it is at odds with the forward-thinking required to execute her role, it is a salve she recommends be used by those still trying to chart the course of their careers and one she uses safe in the knowledge that her proudest professional moments are yet to come.

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Schools: Seeing Ourselves Workshops

Did you know that we offer interactive 'Seeing Ourselves Workshops' aimed at raising career aspirations in the arts for children in Key Stage 1? Explore different roles in the arts and heritage sector with associated characters 5-7 year olds might better relate to:

Conservator (Superhero), Archivist (Explorer), Curator (Storyteller) and Artist (Spy).

BCA Career Spotlight: Retail Manager

“Worse things happen to better people.”

— Issa Randall

Spotlight on: Issa Randall

Outside of Black Cultural Archives, our Retail Manager, Issa, is a keen photographer who holds mini-exhibitions to showcase his art. His favourite photographs are a series titled ‘An Easy Tension’, which explores how Black people have to transform themselves and their bodies in certain spaces to accommodate the white gaze in society. When inside the walls of BCA on 1 Windrush Square, where all forms of being Black are explored and celebrated, Issa feels no need to metamorphose into something others might want him to be, and it is this which drew him to the role. This is his second stint at the heritage centre after first coming on board as a front-of-house team member in 2018 – demonstrating the progressive nature of BCA and a leader in a field where Black people rarely progress beyond entry-level positions.

Issa starts his day doing a stock take, exploring how many visitors the shop had the previous day, and tracking trends such as sales per visit and cost per spend. He then carries out market research to see what’s new, audience reception and if it makes sense to purchase, and he may finish his day having meetings with members of the public who get in touch with products they think BCA may be interested in stocking. This, being able to put faith in Black businesses and creators, is his favourite part of his role and represents a constant engagement with and commitment to the Black Pound movement that others may only indulge in sporadically.

Issa found his way to Black Cultural Archives via Illinois and Ohio, where he went to university to complete a BA in Communications with a minor in photography and an MA in photography. He didn’t have a planned trajectory or career path, preferring to focus instead on acquiring various experiences and accumulating knowledge. He advises others to do the same and embrace versatility.

Issa has two pieces of advice for his younger self and those embarking on their career journey in the sector: learn another language, as it is a powerful medium through which you can be exposed to and experience culture, and remember that ‘worse things happen to better people’ – it is this mantra which enables him to break free from the tendency we have as humans to think ‘why me’ when something does not go according to plan, to put the negatives into perspective, and keep moving forward. From Illinois to Brixton, we wonder where this mentality will take him next.

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Schools: Seeing Ourselves Workshops

Did you know that we offer interactive 'Seeing Ourselves Workshops' aimed at raising career aspirations in the arts for children in Key Stage 1? Explore different roles in the arts and heritage sector with associated characters 5-7 year olds might better relate to:

Conservator (Superhero), Archivist (Explorer), Curator (Storyteller) and Artist (Spy).

BCA Career Spotlight: Collections and Research Manager

Spotlight on: Dr. Hannah Ishmael

Co-founder of Black Cultural Archives, Len Garrison reflected that somebody must rescue, retrieve, and protect Black History. Dr Hannah Ishmael, Collections and Research Manager at Black Cultural Archives, is one such ‘somebody’. It is why she undertook her PhD on the developmental how and why of Black-led archives in London and explored Black Archival thought and practice. It underpins her motivation to look after the collections we have at Windrush Square so that they last and as many people as possible can access them through research, exhibitions, and workshops.

Hannah did not know what career path she wanted to follow and went to university to study History and Philosophy hoping, as so many others do, that it would become apparent by the end of her course. It did not! It was a psychometric personality test carried out on a careers website that put the role of ‘archivist’ on her radar, and she went on to do an MA in archives record management soon after. Hannah feels her almost accidental journey into archiving mirrors that of her peers, who often relay that they ‘fell’ into the role or that their journey was a matter of ‘right place, right time’, and she thus wants to bring more attention to archiving and other ‘hidden’ roles so more people are aware, can make concerted career choices, and diversification of the sector can be brought about.

The support of Hannah's family meant that she was able to supplement the theoretical archival knowledge gained at university with practical voluntary experience. She knows that not everybody has the means to carry out unpaid volunteering and internship opportunities and sees them as one of the biggest barriers to dismantling the elitism endemic in the arts. Whilst she cannot oversee the sector-wide eradication of unpaid posts, she is conscious to ensure that individuals volunteering with BCA are paid for their time as much as possible.

Alongside practices to make the sector more equitable, Hannah spends her days answering emails, delivering bespoke workshops centred around material within the archives, and meeting people interested in donating collections they have often spent a lifetime amassing. Though interested in all stories and narratives, Hannah uses the BCA collection policy to determine what is and is not adopted into our annals, with documents focusing on individuals and organisations who have worked with Black communities in Britain taking precedence. Whilst donators are mostly of Afro-Caribbean descent, the accession of documents from white anti-racist activist Chris Searle proves there are exceptions to the rule, with the historical insight provided by and impact of particular donations deemed more important than the skin colour of the donator.

Though Hannah does not have a favourite donation or document, viewing all pieces of the collection as worthy of the same level of care, attention, and promotion, she cites the deposit from mental health activist Melba Wilson OBE, which was catalogued with funding from the Wellcome Trust, as the donation that has most shaped her thinking on the direction of the archives and the organisation as a whole. Hannah wants the archives to play a bigger role in determining the conversation around health and wellbeing in the community and be front and centre in its improvement. She is busy planning a programme of events to bring this about – watch this space!

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Schools: Seeing Ourselves Workshops

Did you know that we offer interactive 'Seeing Ourselves Workshops' aimed at raising career aspirations in the arts for children in Key Stage 1? Explore different roles in the arts and heritage sector with associated characters 5-7 year olds might better relate to:

Conservator (Superhero), Archivist (Explorer), Curator (Storyteller) and Artist (Spy).

BCA Career Spotlight: Social Media Officer

“Stay curious and inspire others to do the same”

— Shanice Bryce

Spotlight on: Shanice Bryce

Social Media Officer Shanice has been in the role for two years this month and is responsible for keeping Black Cultural Archives’ Instagram, Facebook, Twitter, LinkedIn, YouTube, and Tiktok channels updated and engaging. Shanice does not have a favourite social media platform to work with but is enamoured by their uniqueness and treats them in isolation, knowing that what works well on one platform cannot be proffered on another.

Designing content for socials, writing copy, managing campaigns, and curating the newsletter are typical tasks that Shanice carries out in her role. The small nature of the team and recent staffing changes means she is responsible for additional functions such as editing blogs, speaking with partners, chairing marketing meetings, and designing content for BCA’s programming. Shanice sees herself as the ‘brand guardian', growing and protecting the BCA brand to ensure consistency and relevancy so that people understand our mission and our partners accept and respect it.

BCA x Snap: Hidden Black Stories is one such partnership that Shanice has worked on. The augmented reality project, which saw users scan their Snapchat lens in Trafalgar Square and be transported to hear a speech by Martin Luther King Jr, see Mary Seacole and explore the work of Black British artists, enabled Black Cultural Archives to tap into the Generation Z market and win a 2022 PRCA Dare award for Diversity and Inclusion. Aside from the fun of dressing up in black tie and attending a gala to pick up the award, the project provided visibility to BCA as a whole and enabled Shanice to personally reflect on her career journey that led to this significant point.

Introspection and a quest for improvement and elevation underpin Shanice’s work. It is these traits, alongside her unwavering self-belief, that she procured an internship with ELLE Magazine at age 18, despite being knocked back twice before and became the PR manager for an underwear, swimwear and loungewear brand after reaching out to the founder to offer her marketing and comms skills. Shanice likens her proclivity to live in tune with her desires to the way people eat intuitively with what their body needs, and it is this inclination that took her on a journey through roles in fashion, wellness, and tech before she arrived at BCA. She believes her life purpose is to "stay curious and inspire others to do the same" and advises that it is okay to go with the flow, to keep trying to find what you love to do, and to be graceful with yourself during the process.

Shanice wishes she could change the perception of her role and help people understand that it entails far more than curating reels and posting pictures. It involves creating strategies that entice people to buy into BCA’s mission and vision, to attend our events & exhibitions, and to visit our archives, but in a way that is honest and value-led – the psychological art of persuasion, if you will. To demonstrate that a key aspect of successful marketing is timing and topicality, Shanice looks to our partnership with leading Barristers Chambers, 5 St. Andrews Hill (5SAH), which gives an outlook on legal topics through their series of videos called ‘Black Futures: The Legal Perspective’. BCA’s subject guide referencing the 1772 case of Somerset v Stewart, and a Black person's right not to be forcibly removed from England, is as relevant now, and thus marketable, in a climate where the UK has pernicious immigration policies that need attention drawn to them. It is up to Shanice to recognise these parallels and draw visibility to them.

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Schools: Seeing Ourselves Workshops

Did you know that we offer interactive 'Seeing Ourselves Workshops' aimed at raising career aspirations in the arts for children in Key Stage 1? Explore different roles in the arts and heritage sector with associated characters 5-7 year olds might better relate to:

Conservator (Superhero), Archivist (Explorer), Curator (Storyteller) and Artist (Spy).

BCA Career Spotlight: Learning and Engagement Manager

“Speak up for yourself”

— Dr Ayshah Johnston

Spotlight on: Dr Ayshah Johnston  

The V&A, Transport Museum, National Trust, and Brixton Windmill are all places our Engagement and Learning manager, Dr Ayshah Johnston, worked at before coming to Black Cultural Archives in January 2019. She obtained the role on her second attempt after acquiring schools experience and plugging the gap on her resume that prohibited her from landing the role the first time.

Ayshah’s resilience and perseverance and her description of how she came to be into her line of work: 'by accident and back to front' are important anecdotes for young professionals who may feel pressure to have their career trajectory figured out and may not be prepared for the knock backs that are part for the course. Ayshah’s advice to young professionals, particularly those from Black and global majority backgrounds seeking to enter the arts and culture sector is: ‘speak up for yourself’ if you suspect you are being taken advantage of and/or your career is being stalled, whether deliberately or inadvertently. She seeks to remind them that though the field is not as diverse and inclusive as it should be, individuals and organisations are willing to help them find their way.

Black Cultural Archives is one such organisation, and Ayshah’s favourite part of working in a majority Black organisation is that she can ‘relax’, ‘be herself’ and focus on the job at hand instead of having to expend mental energy protecting herself and proving she is qualified to be in the role, as has been her experience in other places.

A typical day in the role depends on the season. The proximity to Black History Month and the anniversary of the Windrush docking are when people are more likely to engage with Black history and thus the archives, but approximately 75% of Ayshah’s time is spent on public engagement and the delivery of workshops for all ages, from primary school through to corporate staff groups. Shortly, the plan is to hire freelance educators who can carry out school delivery and output, leaving time for Ayshah to focus on strategic planning, departmental development and academic research.

Ayshah’s passion for telling stories about Black history is palpable, and it is no wonder that she still relishes witnessing the looks of awe and shock on people's faces when they learn of things they did not know before. It is also of no surprise that she is busy creating hireable resources such as pop-ups and panels for individuals and organisations to access Black history, even when she and her team cannot go and tell the stories personally.

Engaging and informing the public about the discoveries of scientist, poet and linguist Lewis Latimer has been Ayshah’s favourite project in her role so far and one of the first opportunities she had to put on a family event, given the pandemic and the period of recovery arts and heritage organisations underwent in its aftermath. Latimer, though American, had a local link as his lights were installed on Electric Avenue in Brixton and had a major impact on London. He is yet to take up his place among the pantheon of Victorian inventors, but if anybody can ensure his inclusion and challenge the limiting beliefs about Black people and Black history Dr Ayshah Johnston can.

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Schools: Seeing Ourselves Workshops

Did you know that we offer interactive 'Seeing Ourselves Workshops' aimed at raising career aspirations in the arts for children in Key Stage 1? Explore different roles in the arts and heritage sector with associated characters 5-7 year olds might better relate to:

Conservator (Superhero), Archivist (Explorer), Curator (Storyteller) and Artist (Spy).