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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
BCA Intern, Milan Wright reflects on her 9-month placement and her experience producing Black Cultural Archives’ first-ever Podcast!
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.
Researcher-in-Residence: Miranda Armstrong
An interview with our researcher-in-residence, Miranda Armstrong, on her research and new digital exhibition: Black Mother’s in the Forefront for BCA
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.
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).
VIEW THE ONLINE EXHIBITION
BCA Career Spotlight: Project Assistant
“Abandon the idea that life has to look a certain way by a certain age.”
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”
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.
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.”
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.
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!
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”
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.
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”
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.
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).
4 Black Trailblazers That Have Shaped British Culture
JB Simmons, Guest Contributor
The history of Black people in Britain is a long and storied one, since the days of the Roman Empire and the impact on British culture has been profound.
Learning about Black culture is one way to understand deeper the dynamics and attitudes in today's society. Looking into the most notable Black figures in UK history is one way to start, as their stories are deeply intertwined with the country's history.
Today, we'll look into four Black trailblazers that have shaped British culture:
1. Paul Stephenson
Image @ vintageblackbritain
Paul Stephenson is an activist who has dedicated his life to fighting for social justice. He is most famous for being one of the lead organisers of the 1963 Bristol Bus Boycott, a response to the bus company's discriminatory colour bar policy. Inspired by Rosa Parks' example in Alabama, USA, Stephenson rallied the entire community to speak out against the prevailing racist culture in Britain at that time. The boycott was influential in passing the Race Relations Act, which made discrimination on the basis of race unlawful in public places, employment, and housing. Stephen's actions paved the way for the more inclusive British culture we see today.
Read our subject guide on Protest and Campaigns.
2. Margaret Busby
Image @ mockingbirdwestend
Margaret Busby is most known as the first Black female book publisher in Britain. Her work challenged the publishing world, which white men have traditionally dominated. Across many traditional fields, leadership is becoming more demanding, and the principles associated with diversity and inclusion are now expected of business leaders across the country. Through the work of industry leaders like Busby, UK society gets exposed to various published work across gender, nationality, and ethnic origins. Her literary activism stems from her belief that the dominant white male community has controlled book circulations, schools, libraries, and publishing houses. For her, creating a demand for books celebrating society's heterogeneity will make the publishing industry reflect the true diversity of British culture.
Read our subject guide on Publishing.
3. Diane Abbott
Image @ newnham_associates
British society has come a long way from the uprisings of forty years ago, in response to the discriminatory policing of Black people. Now, there are Black people that hold positions of power in government. Diane Abbott, a British politician, has made her mark on British history by becoming the first Black woman elected to the Parliament and the longest-serving Black MP in the House of Commons. Abbott graduated from Newnham College, Cambridge, and then rose from her city council to national politics. Her distinguished career as a politician and broadcaster inspires young Black women across the country who want to fight modern racism and make their indelible mark in British culture.
Read our subject guide on Uprisings.
4. Harold Moody
Image @ msrcleeds
Harold Moody was a Jamaican-born physician. He went to London to study medicine in 1904 and started his practice in Peckham in 1913. Despite having a successful medical practice, he delved into civil rights after experiencing racial prejudice as a student and immigrant in the UK. He poured much time and energy into campaigning for the rights of Black people and is even dubbed the Martin Luther King Jr. of the country. In 1931, Moody founded the League of Coloured Peoples, which focused on Black rights in the UK. The work of civil rights pioneers like Moody has brought on lasting changes in British culture, particularly in the area of civil liberties.
Black people have and continue to shape British culture in countless ways, and collecting and preserving these stories is one way to honour the struggles and continue building better futures. These four Black trailblazers are only some of the figures that contributed to the formation of modern Britain and its contemporary culture and development.
Check out our ‘Black Britons in the Archive’ online exhibit on Google Arts and Culture.
BCA Pathways 2022 Career Event
BCA Seeing Ourselves Project Administrator, Rachel Haase reflects on the BCA Pathways 2022 Career Event.
On Thursday, 15th September 2022, Black Cultural Archives delivered our annual career event at the prestigious Museum of London. Joined by renowned individuals and exhibitors from leading organisations, the aim was to illuminate pathways into the arts and heritage sector – a field where Black and global majority individuals are typically underrepresented. We discussed the best ways to navigate our careers in spaces that are often not diverse, inclusive, or equitable.
After assembling for refreshments, we directed attendees to the Weston Theatre. First on the agenda was an honest panel discussion on racial equity in Arts and Heritage institutions with Dr. Yvonne Thompson CBE | DL, chair of trustees at BCA; Roshni Hirani, recruitment manager at Serpentine; and Samuel Kasumu, co-founder of Inclusive Boards.
Some of the questions that our panellists answered were:
If and how organisations can foster safe spaces for their employees to discuss race.
Whether there has been a shift in organisational commitments to racial equity in the two years since George Floyd's murder.
What can we do to ensure 2020 is not just a moment in history but an ongoing movement.
Samuel Kasumu highlighted the difference between surface-level change like Twitter blackouts and issuing statements. He also explored the intentional and structural processes of better representation on board and senior leadership teams, fair and open recruitment practices, and the integration of diversity and inclusion into business plans and strategies as the basis to question whether there has been an overall change.
Roshni Hirani was more convinced of a shift towards racial equity but questioned the extent to which individuals and organisations understand why changes are needed and hopes to cultivate more conversations around this in the future.
Tips Roshni proffered to those wanting to propel the movement for racial equality and equity forward were:
Patience – something often at odds with our human tendency to desire change overnight.
Open-mindedness in regards to allyship – the consideration of nuance, intersectionality, and that changemakers won’t always look like you do or how you expect them to.
Advice from Samuel regarding the navigation of career journeys in the sector included:
The ability to be knowledgeable and give your opinions in a room full of people.
Confidence to be yourself in spaces where you are alone representationally.
Commitment to sustaining relationships and clarity on how you want others to view you.
Dr Yvonne Thompson CBE|DL – Chair of Trustees, Black Cultural Archives, Roshni Hirani – Recruitment Manager, Serpentine, and Samuel Kasumu - Co-Founder, Inclusive Boards
Following this was a conversation between BCA's interim Managing Director, Lisa Anderson, and writer, actor, and director, Gbolahan Obisesan. The aim was to explore and examine his trajectory to Artistic Director and Joint CEO of Brixton House Theatre and to elicit advice for those wishing to follow in his footsteps. Lisa disclosed that one of her favourite parts of leading BCA is the opportunity it affords her to discover local leaders in Brixton's cultural landscape and beyond – a description that fits Gbolahan perfectly.
How did a 'shy, introverted immigrant boy with an accent' not only sit with the biggest and brightest stars in the world of theatre but surpass them?
He credits his first tread into performing arts to his drama teacher at his second secondary school (his mum moved him from his first due to him getting into constant trouble). His drama teacher facilitated a space to discover and explore what he was good at and encouraged and empowered him to audition for the National Youth Theatre, which accepted him. Gbolahan – the young black African, working-class boy from a housing estate – commends himself for being brave enough to stay in the predominantly white middle-class world his peers did not yet know was his to inhabit.
This strong sense of self permeates his story. It is evident when he avoided the places in life his friends wanted him to travel to, knowing it wasn’t for him. You can also see it in his ability to initiate and work hard for his professional desires, such as his appointment as deputy for renowned director Richard Wilson, which stemmed from a conversation he initiated. He applied these attributes, alongside a hefty dose of perseverance, and was knocked back from eight Artistic Director roles before securing the one at Brixton House – demonstrating how he has successfully navigated his way up his career mountain.
Though excited about his appointment at Brixton House, he is conscious of the ‘weight of responsibility’ that comes with this leadership role and is busy considering ways he can foster an environment and provide pathways that will enable young adults to thrive and accompany him to the mountaintop. He wants Brixton House to emit a culture of inclusivity from the top down and, through his platform, would like to foster conversations for the community and proffer a safe space for them to partake in such discussions. As the writer of Roadside, a play centred on mental health and self-medication, Gbolahan has a history of bringing our community’s struggles to the fore. We are sure he will continue to do so.
Gbolahan Obisesan – Artistic Director & Joint CEO, Brixton House Theatre
Lisa Anderson – Interim Managing Director, Black Cultural Archives
For lunch, attendees chose between delectable Nigerian street cuisine from Jollof Mama or delicious Korean Mexican hybrid fare from Komex Kitchen. We then had breakaway workshops on CV, interviewing, freelancing, and navigating work in museum spaces (which we will spotlight in a follow-up blog post). Following this, we returned to the theatre to receive our keynote address.
Senior Commissioning Editor at Merky Books, joint Editor-in-Chief of independent literary journal Plantain Papers, and 'the biggest game changer of all time in publishing' as designated by Elle magazine in 2020, are just some of Lemara Lindsay-Prince’s industry accomplishments and accolades. Just as important are her self-designated identifications:
‘kid of diaspora’
‘custodian of our culture’
‘chronicler of our history’
and her 'impassioned quest to foster a link between the past and present, and empower the community to make for a better future.'
Balancing her ‘colour and culture with commercialism’, Lemara emphasised that she did not always scale her current heights and failed at many firsts, including jobs, internships, interactions, and impressions. She spoke of her willingness to try things no matter the outcome and implored the audience to afford themselves the space and grace to fail, a vital takeaway and nod to black excellence and counteracts the pressure we often feel to be amazing from the jump.
Lemara assured us that our ‘presence, opinions, and worldviews matter’ and that we too can and must take up space in the industry, not just for our current selves but so those following behind us can see themselves in the arts and heritage sectors and realise they belong. Top tips on how to do so include:
Ask questions and learn from those who have been before you.
Build something such as a blog for yourself, which will enable you to master creative and production processes.
Explore the unseen and often un-glamorous aspects of the creative industries so you can gain an insight into how things work and where different power lies.
The end of the keynote concluded the conference with Lemara’s call to action ringing in our ears as we stepped out into the September sun.
Lemara Lindsay-Prince – Senior Commissioning Editor, Merky Books
Through its mission to educate, inspire and create access to the arts and heritage sector for young people of Black and Minority Ethnic descent throughout the UK, this years annual BCA Pathways career event, Seeing Ourselves, Hearing Our Voices shone a light on a variety of career paths, whilst supporting sustainable representation and leadership within the arts.
*Other speakers included: Jean Campbell – Arts Educator and Greg Bunbury – Graphic Designer, Creative Consultant, Diversity & Inclusion Consultant
Keep up to date with the Seeing Ourselves project by clicking the button below:
Photos courtesy of Lewis Patrick Photography (PALAssociates)
Transforming Legacies with Pacheanne Anderson
Interview with Transforming Legacies curator, Pacheanne Anderson (He/They)
Photo: Ryan Adrian Prince
Tell us a bit about this exhibition…
The exhibition is about looking into what Black British art has meant over the past 40 or 50 years. As it is still in its infancy, there are so many stories and visual representations of our past(s) and present to display or review. Through showing a diverse range of works with different forms such as sculpture, moving image, collage and painting I wanted to make a note of the diversity of black talent based here in London and South London specifically.
Why did you want to do this at BCA?
When asked to curate the exhibition, I wanted first and foremost for the exhibition to present an opportunity for Black people to learn about fine art in a black space, run and ,managed by black people - to give the opportunity to my community to see a calibre of works and artists they would usually have to travel into central and east London to see. Part of my curatorial practice is to fill gaps of art exposure, education on the sides of viewership and the inclusivity of artists in spaces that welcome their intersections.
Who should visit the exhibition?
Everyone. Everyone who cares about being Black and feeling seen in the art space. Potential artists and curators to understand how space can be used and transformed to include varied experiences of blackness. People who are not part of the creative space and want a new understanding of exposure to fine art in a place made for and by them. Older or conservative folx who may be confronted by conversations of queerness and/or complete artistic expression in a way they had never been interrogated before. Young people who never felt they had a place to be heard or feel seen. The community around BCA who need something exciting to see that they can afford to walk to and bring their friends to.
What impact do you want the exhibition to have on visitors?
To see something new, to learn about black existence in a Black space, to see themselves in the work or even the opportunity to curate and have that job as a Black person. To bring queer Black commentary into a space which might have usually rejected it. To use the archives to show that Black artists have been expressing themselves through art and performance for a very long time.
What legacy do you want it to leave?
Good vibes, authentic representation and fair pay and treatment of Black artists, art professionals and creatives when working with institutions. I want to show people the importance of working and collaborating with black spaces and institutions where we control our own voices and narratives and are treated with respect from start to finish.
Pacheanne Anderson
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Transforming Legacies is on at Black Cultural Archives until 29 January 2023.
Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF
Times: Thursdays - Saturdays, 10:00-18:00, Sundays, 12:00-17:00
Her Majesty Queen Elizabeth II, 1926-2022
The Trustees and staff of Black Cultural Archives are deeply saddened to hear of the passing of Her Majesty The Queen Elizabeth II. We fondly remember visits to Black Cultural Archives from His Royal Highness Prince Charles during Her Majesty’s reign and our thoughts are with him now, as King Charles III, and his family during this time of national mourning for Her Majesty The Queen.
Black Cultural Archives-hosted events will be closed on the day of Her Majesty’s funeral.
Dr Yvonne Thompson CBE | DL
Chair, Black Cultural Archives
Meet the Trustees: Marie-Claire Amuah
Marie-Claire Amuah
My decision to apply for a position as a Trustee of Black Cultural Archives (BCA) was inspired by the mission, vision and work of the organisation: to collect, preserve and celebrate the histories of people of African and Caribbean descent in the UK and to inspire and give strength to individuals, communities, and society.
In April 2021, I found myself looking at a black and white photograph of Brixton 40 years earlier. The photograph is centered by an upside down police car. The car’s back windows are smashed and flames spill from its insides. At the back, the flames mix with heavy black smoke which billows from the tyres and out of the left side of the frame. There are people in the distance - black people. I cannot read the expressions on their faces. There are traffic lights that indicate no right turn and a railway bridge which spans the width of the photograph. To the right is an advert for hand rolling tobacco which boldly encourages people to ‘get the economy rolling’. The photograph was taken during the Brixton Uprising in 1981. It is just one example from the 50 sq meters of archival material in BCA’s archive which is one of the most comprehensive collections of material that documents the history and cultural heritage of Black Britain.
I don’t need the road sign underneath the advert in the photograph to tell me that it’s a photograph of the junction where Atlantic Road meets Brixton High Street; I know it instinctively. I know the building that is now Marks & Spencer. I know the clock under which H Samuel stood for many years. And I know that Bon Marché was once a busy department store on Brixton High Street. I know this because I was born and raised on Dalberg Road, SW2. I attended Corpus Christi primary school on Trent Road and I was baptized in the adjoining church. I am a British Ghanaian South Londoner. My heart and life and identity is rooted in all: Brixton, South London and Ghana. If you walk in the direction of Morleys and cross the road at the traffic lights, you will come to the Ritzy and the library next to which you will find the home of BCA at 1 Windrush Square.
It is an honour to sit on the Board of BCA and to contribute to the vision and strategy of the organisation. To compliment my professional career with meaningful voluntary work is a means of personal fulfillment that I have always enjoyed and prioritised. As a criminal barrister, I am a trained advocate with prosecution and defence experience in the Magistrates’ Court and Crown Court. As a Trustee, I am able to lend my skills as an advocate and litigator to provide legal advice to the Board and operational team. An example of this might be in relation to the ongoing response and action of the Home Office to the Windrush scandal; or establishing a partnership between BCA and a law firm to provide pro bono assistance and support to the organisation.
One for Sorrow, Two for Joy
I am also an author, whose debut novel One for Sorrow, Two for Joy was published by Oneworld Publications in Autumn 2022. One for Sorrow, Two for Joy tells the story of Stella, a child of Ghanaian parents, born and raised in Brixton. Stella is born into the chaos of domestic violence and struggles to make sense of the world around her. She touches wood so that bad things won’t happen to her or her family - until she learns a poem about magpies, ‘one for sorrow…’ In my writing, I draw on my experience as a British Ghanaian South Londoner to explore the identity of Brixton, the myriad ways it has changed over the years and the impact on the community while offering a sensitive portrayal of the ripple effects of domestic violence, and a defiant story of friendship, resilience and hope.
As a Trustee of BCA, I am proud to share that there is a wealth of talent, knowledge and ambition across the organisation’s operational team and Board. There are a multitude of educational opportunities available at, and through, BCA via its archives, workshops, events and exhibitions. I hope that people inside, and outside, the local community are inspired to get involved with BCA, support its mission and take advantage of all its offerings. I am particularly looking forward to seeing our young people (I think that makes me ‘old’?!) at the BCA Pathways career event: 'Seeing Ourselves, Hearing Our Voices' at the Museum of London on 15 September 2022.
Trinidad & Tobago 60
To commemorate 60 years of independence for Trinidad & Tobago, musician Winston Albert, (Sobriquet) De Alberto Calypsonian has put together a selection of his top Calypso songs to celebrate this historical day.
De Alberto, began his career in Trinidad in 1985 at the spectacular forum calypso tent, spearheaded by the mighty Chalkdust, The Mighty Duke and many of the greats like David Rudder, Ras Iley and Arrow. He had a few hits like Rambo, Macho belly, Pan woman and Granny Lucas.
At the time, he was in the calypso circuit preparing shows on New York, Washington, Jamaica, Grenada, St Martin, St Vincent, and more. His most memorable performance then was at Broadway with the Mighty Sparrow.
Since De Alberto arrived in the UK in 1990, he has been teaching and singing all over. He has performed at the House of Lords, Lord’s Cricket Ground, Hackney Empire, the Carnival Village at Notting Hill, as well as events in Switzerland and France.
Winston Albert
De Alberto’s top Calypso songs to celebrate Trinidad & Tobago independence:
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A beautiful composition celebrating women in calypso which is loved throughout the nation
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Celebrating Trinidad as a Nation.
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Acknowledging the history of Slavery.
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Questioning the progress mankind has made.
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A classic song on the dangerous of cocaine which started to plague the streets of Trinidad and Tobago.
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One of the best Calypso songs composed by the grand master, Lord Kitchener.
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Written by Winsford DeVines, acknowledging women who play the steel pan and sung by De Alberto.
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This number advises our children on the importance of education.
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This song advises the nation on how to be successful after we achieved independence.
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This was a national anthem for most Trinidadians.
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One of the great Calypso love songs.