BCA places the legacy of Windrush at the heart of its forthcoming programme

It's been over 70 years since the arrival of the HMT Empire Windrush on British shores. Though British citizens, the Windrush Generation and their descendants have had their belonging wrongly challenged.

Invited to mainland Britain to be a part of the post-war rebuilding of the nation, assured that they too were Brits, men and women of the Caribbean arrived ready to meet their fellow citizens as neighbours. Instead, they experienced racism and were ostracised, told in no uncertain terms that they were not welcome.

 The Windrush Scandal of 2018 speaks to a longer narrative of racism and successive governments attempting to use legislation to define who is, or is not, British – often along the lines of race.

BCA has spent the last year advocating for the Windrush Generation. We continue to do so with the announcement of a programme dedicated to the resilience, impact and legacy of the Windrush Generation.

This programme will amplify the voices of those who lived through this case of modern-day history and will acknowledge the ongoing contribution of all those that came after.

Stories past and present, and not featured in the mainstream media, will come to life, presenting visitors with the real voices of Windrush. Learn how Windrush came to be and the true stories of a people displaced, even though Britain should have been a home from home.

This programme is not only for our communities who will uncover hidden dimensions to this familiar story. It is for all people to learn about the struggles and contributions of Black British Caribbeans - and beyond - during this time.

The programme will launch on Windrush Day (June 22) at our home, 1 Windrush Square.  Along with an exhibition, we will be hosting a series of events in the weeks that follow including film screenings, book launches and panel events.

Windrush is a living history. A story that deserves to be told and understood. We hope you will visit us and join our campaign to bring the exclusion of a people to an end.

Bookmark our website or sign up to our newsletter for future announcements.

Up close and personal with Arike Oke, BCA's Managing Director

It’s been almost a month since new Managing Director, Arike Oke, joined Black Cultural Archives. We sat down with her to not only talk shop but get to know BCA’s new visionary.

Tell us a bit about yourself

My dad’s Yoruba, my mum’s white-English. I grew up in both Bauchi and Hull as a child: polar opposites in many ways. When we came back to school in Hull I remember my big sister convincing our school mates that we had a pet lion back in Nigeria. I was too wrapped up in voraciously reading books to get into trouble, but growing up both working class and across traditions gave me a strong sense of social justice and a passion for finding identity through history.

I’ve had a few jobs, from cucumber picking to registrar of births, deaths and marriages, but my first heritage job was as a positive action trainee archivist on the seminal Connecting Histories project in Birmingham. That project opened my eyes to the power that archives have to make a difference. Later, leading Rambert’s archive out of the wilderness to national prominence helped me see that a strong vision, leadership and collaboration is the formula for success.

Do your names have a meaning and do you think they're reflective of you?

I have both my grandma’s names. I use my third forename, Arike, which is a praise name. It doesn’t have a direct translation into English, but is somewhere in between ‘the pampered one’ and ‘the person you should cherish on sight’. Given those translations, I think I probably shouldn’t comment on whether they’re reflective of me!

Which book, song or film reflects your favourite portrayal of Black British culture?

I read a lot, all the time. It’s hard to choose a favourite portrayal of Black British culture, the great books I’ve read this year by Irenosen Okojie and Simi Bedford have already such different portrayals of our experience.

The most affecting book I read recently coming from the contemporary Black British experience was Stormzy’s. I was incredibly impressed at the team approach to writing it, to exposing how the music industry works, and how clear-eyed Team Merky’s ambitions are. It is a work of collaboration and celebration whose ambition sings from each page. A really good, and inspiring, read.

 What's the best way to start the day?

I am not a morning person, but I’ve started doing yoga in the mornings, just free YouTube videos, before heading out. This way my mind is already open and awake before I get to work. 

What inspires you to do better?

Working in heritage for so long I’ve learned about the stories of people who have overcome obstacles. From big names like Dr Martin Luther King to lesser known people such as anonymous transwoman whose collection I acquired for Wellcome Collection, I find inspiration in real people who have pushed through, pulled together and kept their integrity intact. I recently met Baroness Amos, who features in BCA’s current exhibition, Radiating Greatness. She was kind and open, and disarmingly humble despite everything she’s achieved and seen. She made doing your best for others, and succeeding, feel both in reach and natural.

Where's the farthest you've ever been from home?

The first time I visited America I remember looking out of the plane window as land passed below us. Maybe it was Greenland. It was a strange experience: growing up I had flown over Europe and Africa numerous times, but I’d always felt a connection to the land and sea beneath me. Flying over the volcanic landscape I felt as though I were flying over another planet. I was nervous to visit Atlanta alone a few years ago, but when I arrived in the city itself I was amazed. I have never been so far away but felt so at home.

What are your hopes for BCA?

BCA is the home of Black British history, a beacon and a promise. We have got this far, we’ve got our building, we’ve got our foundational collections. Now it’s time to establish our voice and to return to our founding purpose. We can correct the omissions and erasures in British history. We can make sure that Black British people have a voice in the national agenda. We can support new and emerging talent. We can be part of the community, as a platform and collaborator.

What are you looking forward to over the coming months at BCA?

Over the next few months I’ll be getting my head down to stabilise BCA’s finances and partnerships. We are assembling a cracking team around the BCA, and I’m looking forward to working with them, to meeting, listening to, and working with BCA’s family, supporters and communities, and to opening the windows and doors to let the fresh air of creativity back into the building.

How would you like to engage with the community in and around BCA?

I want there to be conversations, not just hearing but listening to the community’s ideas, hopes and priorities. BCA is more than the headquarters at Windrush Square, but the building should become an asset for the community too. How we achieve that at the same time as making the building work to support BCA’s core mission and funding needs will take trial and error, mutual understanding, patience and creativity.

Is there anything else you'd like to add?

In the words of Queen Nina Simone, ‘There's no excuse for the young people not knowing who the heroes and heroines are or were’. We have a responsibility to the present and to the future, let’s face it together.

Local artist and Poetic Unity organiser launches new spoken word album

Brixton local Ryan J. Matthews-Robinson better known as Ragz-CV is releasing his first spoken word album titled 'Soul Lyrical' which will be sold exclusively at the Black Cultural Archives shop from April 2nd 2019.

The album which has a soulful flavour featuring vocalists, a pianist and a saxophonist throughout which also touches on relevant topics today such as Mental Health, Youth Violence and Identity. Ragz-CV has been a pillar in the community for some years, previously raising over £10,000 for 'Alzheimer's Society' through his music and he is also the founder of registered charity 'Poetic Unity' which has helped thousands of young people across the country.

You can pre-order your hard copy of the album today by emailing your full name with the title 'Soul Lyrical' to bookings.ragzcv@gmail.com.

For more information on the album or to check out some of Ragz-CV's previous work please go to www.RagzCV.com

We say thank you and goodbye to Director, Paul Reid

Yesterday we said goodbye to our Director Paul Reid, who for more than 10 years has represented Black Cultural Archives as a passionate and strong voice for our community. We will come together to celebrate Paul’s contributions officially in a month’s time, but want to take this moment to thank him for everything he has done to help make the dream of our monument to the history and heritage of African and Caribbean people in Britain a reality.

We know he will continue to be a key ambassador for BCA, forever connecting us to a diverse community of supporters. Not one to stand still, Pablo (as he is affectionately known by his many friends) is using some of his immediate free time to cycle over 200+ miles to raise money for ORIGIN, the youth charity he supports for our young Black men www.gofundme.com/brothers-in-paris-origin

Get exclusive discounted tickets to Mandela: The Official Exhibition

26 Leake Street Gallery, Waterloo, London | https://mandelaexhibition.com

Black Cultural Archives are proud to offer an exclusive discount to one of the most talked about exhibitions of the year. Book your tickets to see Mandela: The Official Exhibition using the code ‘BCA1250’ and not only will you receive reduced tickets but a £1 donation will be made to BCA.

Mandela: The Official Exhibition gives visitors the chance to experience the iconic anti-apartheid revolutionary, political leader and philanthropist Nelson Mandela in a new way.

This major new global exhibition explores the life of the world’s most famous freedom fighter and political leader. His epic story is told in a series of experiential galleries from his rural childhood home through years of turbulent struggle against the apartheid regime, to his eventual vindication and final years as South Africa’s first democratically elected President.  His journey to becoming the ‘Father of South Africa’, and a globally loved and respected figure is explored in new, personal and revealing ways. With exclusive stories from Madiba himself, his family and those that knew him best, visitors will see Nelson Mandela in a new light.

Head over to the official website to book tickets for yourself, family and friends. Don’t forget to enter the promotional code ‘BCA1250’ to get your exclusive discount for this one of a kind event.

EVENT: Benjamin Zephaniah Book Tour

Saturday 9 March 2019
18:00 - 21:00
Tickets: £8 for standard tickets, £28 for tickets with a copy of the book
Book your tickets on Eventbrite

We are proud to welcome the uncomparable Benjamin Zephaniah to Black Cultural Archives as he launches his new book, The Life and Rhymes of Benjamin Zephaniah. The event will feature a Q&A session led by Black Cultural Archives' new Managing Director, Arike Oke.

Benjamin Zephaniah is a pioneer of performance poetry. His talent as a lyricist and storyteller emerged at a young age, helping him to survive the racism he faced growing up in 1960s Birmingham. A vibrant music scene in the form of roots reggae and the sound system culture of the 1970s provided the backdrop to a teenage life that was, at every turn, encountering institutional racism.

Benjamin speaks candidly of his time living outside the law, and how he broke away from the path his schoolteachers told him was inevitable. His mission was to take poetry everywhere. With the flame of creativity burning inside him, he came to London and emerged as a uniquely dynamic performer, when punks and rastas were fighting Thatcherism and the National Front in the 1980s. Nelson Mandela formed a close friendship with Benjamin after hearing his musical tribute to him recorded with The Wailers – the first artist to do so after the death of Bob Marley.

This award-winning playwright, lyricist and much-loved poet has been a voice of reason and resistance for almost four decades. His memoirs provide a vivid portrait of an extraordinary life that celebrates the power of poetry and the importance of pushing boundaries. 

Guests can join us from 18:00 with the event starting at 18:30. There will be books available for purchase on the day. You can book your tickets via our Eventbrite page.

Deadline Extended: Could you be a BCA Trustee?

Black Cultural Archives is refreshing its Board of Trustees and bringing in new governance capability in readiness for the next critical phase of its evolution.

About Black Cultural Archives

In 2014, after a successful £7million fundraising campaign, Black Cultural Archives launched the only national Black heritage centre in the UK.

We are a charity committed to creating exhibitions, public programmes and a collections service that continues to stimulate fresh thinking and improve and increase the knowledge of the whole population of the importance Black history in Britain.

Our strategic objectives are to grow our collection; to provide inspiring learning experiences; to change the teaching of British history by leading the debate and inspiring others to play an active role in reshaping the national narrative; and to develop a sustainable organisation. Now after a four-year cycle of leadership we are refreshing our Board of Trustees for 2019 - 2023.

We have recently appointed a new Managing Director, who will agree and execute a new strategy, commencing end Q1 2019.

Experience and availability

Listed below are sectors which incoming trustees should have experience:

• National heritage organisations;

• Parliament / Civil Service / law;

• Sport / Media / Broadcasting;

• Youth / 3rd sector / Community groups;

• Academics / Education;

• Literature / Arts / Music;

• City of London, professional services, technology, retail;

We are seeking up to 4 Trustees and a Company Secretary, with high-level Board experience of one or more of the above areas and who are demonstrably able to attract funding or hold events that generate substantial annual revenues for BCA as well as bring the time and skills to complement the current board of trustees.

Tenure is in periodic 4-year cycles, with annual reviews at board AGMs.

These are voluntary positions with no remuneration but will provide candidates with opportunities to contribute their significant expertise to our important mission and join at a time when we are renewing our governance and strategic leadership at the highest levels.

The Board meets once every 6 weeks (6.30-8.30 pm) at 1 Windrush Square.

The closing date for receipt of applications is Monday 25th March 2019. If you would like to apply, please send your CV and covering letter to charlotte.evans@bcaheritage.org.uk.

Your cover letter should highlight your interest in BCA and motivation for joining our Board. Please also detail your availability and relevant experience.

Black Cultural Archives appoints new Managing Director

Wednesday 6 February 2019, London, United Kingdom --- Black Cultural Archives (BCA) has appointed Arike Oke as its new Managing Director. From Monday 4 March, Arike will lead the only national heritage centre dedicated to collecting, preserving and celebrating the histories of African and Caribbean people in Britain.

Arike has extensive experience in the heritage and cultural sector and a long track record in leading large and complex, multiple-stakeholder initiatives. She is a standing board member of the National Archives’ programme to transform the UK archives sector, Unlocking Archives, is a BAFTA Heritage Board member, and previously had an integral role in redeveloping Wellcome Collection’s approach to archives.

Her role will be to drive BCA’s mission to use its unique collection to promote the teaching, learning and understanding of African and Caribbean people’s history and heritage in Britain, as well as leading the strategic development of BCA, delivering against a Business Plan and fundraising strategy for the long-term sustainability for the organisation.

Arike Oke said: “I am delighted to become the new Managing Director of BCA, building on the achievements of Paul Reid and his team. I am a passionate advocate of communities and heritage, and I take pride in working with people and on projects who share the ethos of creating a positive future for all. I’m looking forward to working with my new colleagues, the Board, patrons, the local community, and our wider society to take BCA into its next phase. Black Cultural Archives is the home of Black British history, and is the conduit for telling our new, and old, stories. I'm excited to lead BCA to fulfil its potential as innovative, dynamic, and at the heart of our national conversation.”

Arike’s achievements include chairing Hull’s first Black History Month committee, securing significant funding for, as well as programming and managing, a national cross-sector multi-platform programme to commemorate Rambert’s 90th and helping to create the current UK Strategic Vision for Archives.

Dawn Hill, Chair, BCA said: “Arike is the perfect person to join BCA as Managing Director and we are thrilled to have her become part of the team. She shares our vision for the future of BCA and is bringing a wealth of experience, energy and creativity to the role.”

Of his tenure at BCA and Arike’s appointment current Director, Paul Reid, said "Through the lens of African and African-Caribbean history and heritage, BCA’s Founders set out to establish a lasting legacy to our Ancestors. Len Garrison’s poem 'Where are all our monuments' posed a key question. I’m pleased with what we achieved during my time as Director and that we now have a greater commitment to changing the teaching and understanding of British history.

I am also excited by Arike Oke’s appointment as Managing Director, who I am sure will, with her team, continue to realise the vision."

Paul will be leaving his role on 28 February 2019.

BCA statement £200,000 government cash boost

We're delighted that the government has announced £200,000 of short-term funding for Black Cultural Archives (BCA). It is an important and welcome contribution. We will begin 2019 continuing discussions with all of our funders to address the challenge of long-term sustainability for BCA.

Although there isn’t a comparable archive in the UK that is financially independent, we recognise that BCA is in a unique position. As we move through these challenging times it is essential that we secure the legacy for future generations as the only national institution dedicated to uncovering, preserving and celebrating the histories and heritage of African & Caribbean people in Britain..

Paul Reid

Director, BCA

Dawn Hill

Chair, BCA

blackculturalarchives.org

Notes to editor:

Black Cultural Archives is situated in the heart of Brixton on Windrush Square. Its mission is dedicated to collecting, preserving and celebrating the histories of people of African and Caribbean descent in Britain. Founded in 1981, BCA is the first of its kind and its unique collection includes rare historical documents, photographs, ephemera, oral history testimonies and an eclectic range of objects dating from the second century to the present day. BCA’s work recognises the importance of broader historical narratives and promotes dialogue that encourages everyone to learn, explore and become inspired by an inclusive British history. BCA aims to create a sustainable institution through its We Are One and #BackBCA campaigns. Funded by the London Borough of Lambeth.

Black Cultural Archives revises admission charges to support its long-term future collecting, preserving and celebrating Black British histories

Black Cultural Archives (BCA), the only national heritage centre dedicated to collecting, preserving and celebrating the histories of African and Caribbean people in Britain, is to begin charging £3 per adult admission charge for exhibitions in the main hall.

BCA’s mission is to continue to expand its archive collection which permanently documents and celebrates the histories of Black people in Britain. Tickets to all future exhibitions will be £3 for adults, with children under 16 and Friends of BCA granted free entry and concessions for pensioners and students. There will also be free admission days and evenings for local community groups. This new admission policy will help to #BackBCA by supporting its long-term sustainability goals, enabling BCA to continue to provide a platform for otherwise untold stories.

For the first time, BCA is calling for exhibition proposals for 2019-23 seasons from community groups, artists and experts across the arts and heritage centre. Through BCA’s exhibitions, visitors can engage in unique learning experiences, cultural exchanges and intergenerational conversations that stimulate a greater understanding and appreciation of history. To find out more about our holdings visit the Subject Guides on our website or visit us to view the collections in person.

Academic World Pledges Support For BCA

Rt Hon Jeremy Wright

Secretary of State for Digital, Culture, Media and Sport

100 Parliament St.

London SW1A 2BQ

Dear Secretary of State,

As Heads of History Departments at UK universities, we are writing out of concern at the possible closure of a nationally-important scholarly institution.

The Black Cultural Archives (BCA) in Brixton has been an important part of the institutional landscape for historical study in Britain for decades, a position strengthened with the opening of its new building in 2014. It is the only national heritage centre in the country to collect, preserve and celebrate the history of the African and Caribbean community in Britain. It is uniquely trusted as a depositary for manuscripts and artefacts documenting the history of people of African origin in Britain. As a result it has a large archival collection documenting the history of individuals and organisations, of great and increasing value to historians interested in all aspects of the history of Britain. The standards of archival preservation are the very highest, equivalent to that used by the National Archives and British Library.

In addition to its role as an archive the Black Cultural Archives performs a vital educational role furthering the study of the role of the diverse people of African and Caribbean descent in Britain. It has strong partnerships with British universities and museums. The BCA has jointly curated exhibitions with the Victoria and Albert Museum. It collaborates on research projects with the Universities of Leeds and Surrey and University College London, jointly teaches a history module with King’s College London, and is a vital resource for students from dozens of universities. It attracts researchers from academic institutions from across the world, with connections to the Nelson Mandela Foundation and the US Smithsonian Institution amongst others.

The BCA furthers scholarship on the history of Black Britain to the very highest academic standards, while nurturing a constant dialogue with Britain’s African and Caribbean communities. In that respect, it is the very model of what history should be about now: always insistent on academic rigour, but also looking outwards, engaged with a broader public and in doing so not afraid to ask difficult questions.

As you know, the BCA has been very successful at receiving short-term and capital funding, allowing it to open its current building and grow significantly over the last few years. However, a nationally significant institution such as the BCA needs long term funding, on the same kind of basis as other national museums and archives such as the National Archives, British Library or indeed many county or regional museums and art organisations which receive funding through the DCMS. With museums and libraries now being able to join the Arts Council’s National Portfolio, one possibility is to include BCA in the funding portfolio as a long-term means of supporting it.

We are writing to urge you to find a long-term means for funding the Black Cultural Archives. We’d appreciate hearing about your thoughts on BCA’s funding situation as soon as possible, so we can reassure colleagues anxious about the future of this vital partner for historical scholarship in the UK.

Yours faithfully,

Signed by the following Heads of History Departments:

Professor Abigail Woods, Head, Department of History, King’s College London

Professor Jan Rueger, Head, Department of History, Birkbeck, University London

Professor Simon J. Potter Head of History University of Bristol

Professor Matt Houlbrook, Head, Department of History University of Birmingham

Professor Tim Harper, Chair, Faculty of History, University of Cambridge

Professor Meggen Gondek Head, Department of History & Archaeology University of Chester

Professor James Livesey,

Dean of Humanities and Professor of Global History, University of Dundee

Professor Catherine Cubitt Head, School of History University of East Anglia

Dr Mark R Frost, Head, Department of History, University of Essex

Dr Timothy Cooper, Head of Humanities Penryn Campus, University of Exeter

Dr John Price, Head, Department of History, Goldsmiths, University of London

Professor George Lewis, Head of School, History, Politics & International Relations, University of Leicester,

Professor Elaine Chalus, Head, Department of History, University of Liverpool

Dr David Clampin, Liverpool John Moores University

Professor Matthew Jones, Head, Department of International History, London School of Economics and Political Science

Dr Drew Gray Haed, Department of History University of Northampton

Professor Sarah Badcock Head, Department of History, University of Nottingham.

Dr Andrew Gritt,

Head of History, Languages and Global Cultures Nottingham Trent University

Professor John Watts, Chair, Faculty of History, University of Oxford

Prof. Joanne Begiato, Head of the School of History, Philosophy & Culture Oxford Brookes University

Dr Elaine Murphy, Associate Head of School for History, University of Plymouth

Professor Adrian Bingham, Head, Department of History, University of Sheffield Professor Douglas Hamilton
 Head of History, Department of Humanities
 Sheffield Hallam University

Professor Simon MacLean, Head, School of History, St. Andrew’s University

Professor Eleanor Robson, Head, Department of History University College London

Professor Daniel Branch Head of Department of History University of Warwick

Professor Lawrence Black, Head, Department of History, University of York

Also signed by the following senior university leaders:

Dr Johanna Malt, Executive Dean,

Faculty of Arts and Humanities, King’s College London

Professor Nicola Phillips, Vice Principal (Education), King’s College London

Professor Evelyn Welch, Provost (Arts and Sciences), King’s College London

Professor David Price, Vice-Provost, Research, University College London

Professor Sasha Roseneil, Executive Dean, Faculty of Social and Historical Sciences, University College London

Professor Anthony Smith, Vice-Provost, Education, University College London

Dr Laura Sandy Co-Director of the Centre for the Study of International Slavery (CSIS) University of Liverpool

Dr Sam Edwards Director, Manchester Centre for Public History and Heritage Manchester Metropolitan University

Dr Cathy Smith Deputy Dean, Faculty of Education and Humanities University of Northampton

Black Cultural Archives calls for bidders to save significant historical artwork to stay in Britain

Auction house Christie’s has announced the sale of a rare portrait of Ignatius Sancho – artist unknown. This rare depiction of one of Britain’s historical figures represents the extent of Black presence in Britain, which far exceeds the popular migratory narrative of the Windrush arrival in 1948.

The sitter, Ignatius Sancho, was the first Briton of African heritage to vote in a British election and was a celebrated writer, composer and musician. Renowned for his efforts towards the British abolitionist movement, Sancho became a symbol of the humanity of Africans and immorality of the slave trade.

The rare portrait goes on sale Thursday 13 September 2018 and it will go on view to the public on Friday 14, through to next Wednesday 19.

Black Cultural Archives is national repository for collections that document the histories of Black Britain. Its archive collections dates back to 211AD and aims to rewrite the historical narrative in Britain to become more inclusive. Dawn Hill CBE, Black Cultural Archives Chair viewed the significant piece and comments, ‘we express great interest in this significant portrait and call for bidders to come forward to ensure this artwork remains in Britain.’

In 2015, BCA exhibited Black Georgians – The Shock of the Familiar curated by historian S. I. Martin that showcased the presence and contributions people of African descent in Britain throughout the Georgian period of 1714-1837. BCA’s exhibition featured Ignatius Sancho, often described as freedom writer whose efforts contributed to the emancipation of enslaved peoples. The Letters of Ignatius Sancho are one of the earliest accounts by an African documenting their experience as an enslaved person in Britain. Sancho sits alongside historical figures such as Phyllis Wheatley (1733-1784) the first Black woman published in Britain and Olaudah Equiano (c.1747-1797) whose prominence became renowned as one of the first political leaders for the Black Britons during the Georgian period. Individuals such as Ignatius Sancho contributed to the pressure and raised awareness to the grotesque immorality of the enslavement of African peoples through the power of literature and expression.

BCA’s mission is to collect, preserve and celebrate the histories of African and Caribbean people in Britain. Its work engages with learners and the general public to share and promote a broader understanding of British history. Through its expansive collection BCA ensures that these histories are visible and accessible to everyone.

Auction lot: English School, circa 1770 after Thomas Gainsborough (British, 1727-1788). For more information about the portrait view online catalogue

For enquires regarding the artwork contact Christies’ Client Service via info@christies.com or London +44 (0)20 7839 9060.

Black Brexit Conference 2018: What Does Brexit Mean For Britain's Black Community?

Earlier this year, anticipating the Commonwealth Heads of Government meeting in London, Black Cultural Archives invited speakers and a public audience to discuss what Brexit means to Britain’s Black community?

Our conference chair Professor Trevor Williams published his outlook on the Black Brexit Conference 2018 outcomes.

Black Brexit Conference outcomes – is there a Commonwealth opportunity?

“I recently had the great pleasure of hosting what I think is the first conference devoted to the view of the Black community in the UK on Brexit and its implications for them, held on the 15th March at CMS McKenna, Cannon Street, London. It was also one of the best I have been at regarding interaction between panels, speakers, and the audience. The Black Brexit Conference uncovered a variety of complex social, economic and political concerns crystallised by the Brexit vote. Over four hours of high energy debate from panellists and the audience aired a range of issues. Not surprisingly, there were more questions than answers – of the latter few were easy ones, and none were quick fixes.”

Read Professor Trevor Williams full blog online.

The conference was present together with co-convenor SOAS University of London and sponsor CMS.

The Great Expectations Q&A

Image credit: Neil Kenlock

Curator Emelia Kenlock gives an overview of the Expectations exhibition on display until 28 September 2018

WHAT IS THE EXPECTATIONS PROJECT?

The Expectations exhibition is part of a Heritage Lottery Funded project that aims to increase public awareness and access to the archive collection of black British community leaders taken by my father photographer Neil Kenlock. His collection covers two decades, from the 1960s to the 1970s, giving a unique insight to the lives and experiences of the first generation, African and Caribbean leaders who settled in UK and influenced the community.  

WHY DID YOU CHOOSE THE BLACK CULTURAL ARCHIVES AS THE EXHIBITION SPACE?

Firstly, the Black Cultural Archives is on the historical Windrush Square and is the home of black British heritage, hence why it was the perfect place for the Expectations Exhibition and other project activities. The BCA provides not only a great exhibition space but also supports key parts of the project like archive training and community engagement.

HOW DOES THIS EXHIBITION HELP TELL THE STORY OF THE WINDRUSH GENERATION?

The exhibition tells the story of black people who lived, worked or influenced our community, most of which would have been part of that Windrush generation. Therefore, the exhibition helps to put their experiences in historical context, giving visitors the imagery to match the stories their grandparents may have told them. And for those who are new to these stories, there are photos of fascinating people like ‘Columbus’, a man who was on the Windrush Empire ship in 1948 and was the first person from that group of settlers to gain employment in Britain.

WHAT IMPACT WILL THIS EXHIBITION HAVE ON PEOPLE WHO COME TO VISIT?

The exhibition is a ‘building takeover’ which means the prints are hung in places where visitors would not normally see photographs. The three spaces include the café, which is the challenge space, the learning centre, which is the change space and the meeting room, which is the collaboration space. The idea of bringing the art into these areas was so that people can connect with the heritage in a new and engaging way. The project also aims to educate society on black British history and to allow people to experience archive material that so few people knew about.

For more information on the Expectations exhibition and project, please visit www.expectationsproject.com.

 

PHOTO GALLERY FROM EXPECTATIONS EXHIBTION LAUNCH

BCA Friends Summer BBQ and Family Fun Day

BCA Friends celebrated our fourth year on Windrush Square on Saturday 11 August 2018 with the annual BBQ and family fun day. Massive thanks to the BCA Friends Committee and volunteers who hosted a full day of activities including puppet show, the ever-popular slime making workshops, storytelling from the brilliant Adisa the Poet and Eli as well performances from talented singers and rappers in partnership with Inspirational U and energy and good vibes from Ace and Jacks Entertainment.

All funds raised go towards supporting the sustainability of Black Cultural Archives. If you are interested in donating and becoming a BCA Friend, its is easy to sign up online. Membership starts from just £30 a year (£2.50 a month, the price of a coffee!).

Become a BCA Friend

Make a donation

Find out more about our volunteer roles

Garage: The sound of a generation that changed the UK music scene

WRITTEN BY NATALIA MORGAN

‘Flowers’, ‘Sweet Like Chocolate’, ‘Heartbroken’….the list goes on. Most people, if not everyone, knows a garage tune. Those of us that are younger may not remember raving in sweaty clubs with champagne and glow sticks – but that doesn’t stop us from feeling a part of the garage culture.

From its early influences of R’n’B, reggae and ragga, the emergence of UK garage has shaped mainstream British culture and defined ‘urban’ music as we know it today. Artists from the likes of Artful Dodger, Craig David, The Streets and Grant Nelson have helped changed the UK music scene, paving the way for new genres, including Grime.

Emerging in the 1990s, UK garage began on pirate radio stations and in the second room of nightclubs, but quickly gained attention from major promotors like Fantasia and Obsession who hosted some of the first 32,000 Garage raves in the UK. As it seeped into mainstream British culture, UK Garage moved from only being played on Sundays to breaking into and dominating the UK music charts. By the late 1990s/early 2000s “it was everywhere”. 

The genre was for the youth. With a strong bass, soulful melody and samples of old reggae/ragga artists most people’s parents listened to, it encouraged a new kind of relationship with music that the UK was missing.

Garage not only defined a generation but put London on the map for musical talent –

“It cemented my identity as a Londoner”

The rich musical diversity in the genre reflected the diversity in London; creating a unique sound for a new generation. It’s popularity also gave DJ’s the opportunity to rhyme over tracks and develop as artists, while making millionaires out of the original artists whose songs were being remixed into chart hits. To many it was a culture, a lifestyle that swept across London and the rest of the UK.  Going to the club, dressing in designer brands (Moschino, Versace, Iceberg) and being seen with the infamous champagne ‘Alize’ was a way of life and in some ways is the roots of the flashy lifestyle largely associated with Grime music today.  

Though the mid-2000s saw a decline in garage it also witnessed the birth of its sub-genres: UK funky, grime, dubstep and baseline. Yes, garage has been pushed from the “peace and love” vibes of the early 1900s to a darker aggressive tone (which set the path for grime), however the feel and bass of original garage anthems are still influencing music and culture today - ‘New Skool’ Garage from artists like Preditah, Disclosure and AlunaGeorge has somewhat revived UK Garage for a new generation. Garage Nation and others continue to host regular festivals/raves for UK Garage fans as the scene continues to invite new members and spell nostalgia for old lovers of the genre.

Whatever the future of Garage – whether it once again dominates the ‘Official UK Top 40’ or is forced underground completely - it will always be remembered as the genre that bridged the gap between music and culture, changing the British music scene indefinitely.  

*All quotes and taken from the BCA's talk on UK Garage

Taken from the Black Cultural Archive's talk on the impact of garage music on British culture

BCA Youth Forum visit English Touring Opera's Gianni Schicchi

Mahmoud from BCA Youth Forum reviews ENO's recent production Gianni Schicchi:

At Buoso Donati’s deathbed - the Donati family convene, first in hope and then consternation. Hope for the anticipated wealth Donati’s will may have bequeathed to each of them, and consternation as they eventually discover that Donati has in fact left all his wealth to the monks of Signa.

Unfavourably written out of the will, they fetch the eponymous Gianni Schicchi, played by Andrew Slater, a lawyer whose daughter, Lauretta, is to get married into the Donati family. Seeing an opportunity to bend the law, the family plead with Schicchi to concoct a new, more favourable will that divides Donati’s estate and the prized mule to the various family members. Schicchi agrees but ensues to devise his own cunning plans.

The ETO’s costume, make up and set design team do a fantastic job. Schicchi’s costume, a three-piece working man’s suit, is a distinct contrast the family who adorn caricatured white-painted faces  that function as comedic masks (in the commedia dell’arte style); perhaps in reflection of their extreme avarice and greed compared to Schicchi’s seemingly unassuming motives (yet he turns out to be the most ingenious schemer of them all).

As a novice opera watcher - the set design worked really well in enhancing the narrative. The room was cluttered, full of paraphernalia, adding to the chaos and panic of the Donatti family. The stylised rhythmic group movements by the director collapses all character-distinctions but adds so much dynamism to the production. The comedic timing is exceptional - all credit to the performers (in particular Andrew Slater who plays Schicchi) and of course the music.

Lastly, there is an inversion, dare I say even subversion which I love, of Dante’s original story. In Dante’s Divine Comedy, Schicchi is a conniving reprobate, condemned to hell for his actions; whereas in Puccini, he becomes an antihero, a scorned outsider of Florence, looked down upon by old money and then plays the players at their own game.

Thoroughly enjoyed it!

Find out more about the production and other work by ENO,

Interested in joining the BCA Youth Forum and getting involved? Find out more and contact us at learning@bcaheritage.org.uk

In solidarity with the Windrush Generation

Black Cultural Archives (BCA), as the nation’s only repository dedicated to preserving the heritage of African and Caribbean people, views the fiasco unfolding regarding the “Windrush generation” as a shameful lack of appreciation of the courageous citizens who have helped to create what we know as Britain today.

These actions have added to the hostile environment for migrants from our community who have been living and working in Britain for over 40 years. It reflects the general lack of appreciation of the contributions the Black community has made to this country throughout history.

The tens of thousands of people who travelled as British citizens between 1948 and 1973 were invited to this country to help rebuild post-war Britain. The elders of Britain’s Caribbean heritage community were a pioneering generation who laid solid foundations that rebuilt post-war Britain. 

This is not an immigration story, not a moment of migrant history, but is central to British history. The history of Black people in Britain dates back centuries, yet this history has been long hidden.  It is our duty to unearth and share these histories with everyone for a better and deeper appreciation of Britain. This will ensure injustices borne of ignorance and lack of empathy do not continue to occur and debate the value we give to this society. The “Windrush generation” came on their own and then brought their families here. The resilience and courage of the generations that followed them have shaped today’s Black British community. The fact that citizenship questions are being raised decades later is highly problematic.

BCA was founded in 1981 over 30 years ago as our co-founder Len Garrison grappled with the fundamental question of “Where are our monuments? Where are our martyrs? …” His words continue to echo throughout the country today, as we are still asking these same questions in the face of institutions that are still unable to value our contributions and heritage.  

BCA’s archive collection holds a copy of the 1948 Nationality Act which gave all colonial subject British citizenship, as well as copies of subsequent Immigration Acts which attempted to remove that right. Our collection holds historical evidence of the oppositional campaigns to the racist 1962 Immigration Act, known as the Colour Bar Immigration Act, which expressly limited the movement of British citizens from its colonies. The destruction of landing cards that form part of a narrative of an entire generation and their children’s history is disheartening. BCA exists to ensure the preservation of this history, our archive differs from national or government archives, as our remit is to preserve the narratives of the people. Materials that can no longer be held in central archives should be offered to alternative repositories such as ourselves. We have been entrusted by generations of individuals, families and organisations to safeguard these materials, our history, British history.

We call on the government to ensure the travesty of the destruction of the archival materials must never happen again. And BCA must be the recognised home for such important archival material.

We are inviting all those who are worried about being affected, have concerns about their documentation either for rights to remain and safeguarding to our public meeting on Saturday 28 April 2018 between 2pm-5pm. The public meeting will be followed by a series of legal clinics from legal professionals who are volunteering their time and expertise.  

We are open to working with and alongside government and community initiatives to support the wider community to navigate the current situation and help to overcome the distrust and distress that has arisen. Clinics will be held at BCA as a central point of contact for the community and safe space to ask critical questions and make enquires.  

Legal clinics have been extended due to growing demand. Clinics will now take place on Saturdays, 10am-1pm throughout June. Contact us on 020 37578500 to make an appointment. 

Stephen Wiltshire Raffle

SUPPORTING #BCAWEAREONE FUNDRAISING CAMPAIGN

The talented artistic prodigy Stephen Wiltshire MBE visited Black Cultural Archives and captured our iconic building in a beautifully detailed drawing. Stephen has generously donated 25 limited edition prints to BCA.

We are thrilled to offer one lucky winner the opportunity to win a limited-edition print of our grade II listed building. BCA’s iconic building is situated on the historically named Windrush Square in Brixton, London. It is a beautifully restored Georgian building that now houses the UK’s leading archive collection preserving Black British history.

Stephen is recognised worldwide particularly for his massive panoramic cityscapes. His works are sought and can be found in important art collections across the globe.  He has received many awards in recognition of his art including an MBE in 2006 for services to the art world.  

The print has been hand numbered and signed by Stephen and comes with its own Certificate of Authenticity. Stephen has donated the original artwork to Black Cultural Archives.

If you are successful you will be the owner of a unique and outstanding piece of art and contributed towards our future at Black Cultural Archives. 

Thank you for taking part and good luck!

THIS RAFFLE IS NOW CLOSED

HOW TO ENTER RAFFLE

• The closing date for raffle ticket purchases is Friday 30th March 2018

• Tickets are £5 each and can be bought online or direct from BCA.

• The Raffle will be drawn on Saturday 31st March 2018, 3:00pm at the BCA.

Sir Lenny Henry, Stephen Wiltshire MBE and Conrad Peters, BCA Trustee

STEPHEN WILTSHIRE RAFFLE WINNER ANNOUNCED 

Congratulations to our winner of a limited-edition Stephen Wiltshire print! 

“I’m so proud to have won!! When I first heard about the competition, my immediate thoughts were of Stephen in a helicopter hovering overheard with a birds-eye-view of Brixton. To say, I’m a fan of his work is an understatement – so to be in with an opportunity to own an original print was too good to pass up. But the raffle was always a win-win situation whereby even if I didn’t win the prize, I’d still be contributing to the important work of the BCA. It’s a double win for me.” Marcus 'Paradise' Dawes

To find out more about supporting Black Cultural Archives, visit https://www.bcadonate.org/

 Terms and conditions apply.  Read full details. 

For enquiries info@bcaheritage.org.uk or call 020 37578500

To find out more about the BCAWeAreOne fundraising campaign visit bcadonate.org 

Rudi Patterson: Visions of Colour Special Event at the Garden Museum

Rudi Patterson

Rudi Patterson was a bold and talented artist, holding 40 exhibitions all over the world while he was alive. Almost all of his paintings featured landscapes or plants, and his small Notting Hill council flat and balcony were filled with greenery. Rudi’s paintings were heavily influenced by his Jamaican background, and pick out the bold tropical colours plants and landscapes of his formative years.

SPECIAL EVENT
TUESDAY 20 MARCH, 7.00PM-8.30PM
AT THE GARDEN MUSEUM 

Join BCA Chair Dawn Hill, Wesley Kerr and Novelette Aldoni-Stewart as they celebrate Rudi’s life and works. The evening talk will explore links between Jamaican garden history and British garden history are centuries old; Captain Bligh, whose tomb is in the Sackler Garden of the Garden Museum, took breadfruit from Tahiti to the botanical garden next to Rudi’s home village.

This evening is a celebration of Rudi’s life and works. Rudi was an early supporter of the Black Cultural Archives, which holds an archive of his works. The money raised from ticket sales will go towards the acquisition of one of Rudi’s paintings for the Garden Museum’s collection.

PROGRAMME

During the evening there will be an illustrated chat with a panel of those who knew Rudi, discussing his life and the impact of his Jamaican roots on his works.

You will be invited to ask questions after the conversation and to enjoy the paintings for which Rudi became famous, several of which will be at the Museum on the evening.

Drinks will be available in the Garden Café from 6.00pm and the Museum will be open from 6.30pm allowing you to explore the collections.

After the talks the Garden Café will be open, serving a light supper which can be enjoyed in the lush surroundings of the Sackler Garden while listening to some of Rudi’s favourite songs.

PANEL

Wesley Kerr OBE, Writer, broadcaster and historian
Dawn Hill CBE, Chair of the Black Cultural Archives, Novelette Aldoni-Stewart, Conservator and cultural activist, Trustee of the Black Cultural Archives

BCA has a special ticket offer for £5.00 (usual price £10.00). Tickets are via the Garden Museum.

The money from your ticket purchase goes towards an acquisition of a painting by Rudi Patterson for the Garden Museum’s collection. If you would like to leave a further voluntary donation on the evening this would be gratefully received.

WESLEY KERR ON RUDI PATTERSON


IN LONDON OF THE  SWINGING ’60S RUDI PATTERSON WAS A SELF-PROPELLED STAR. A FEW YEARS AFTER ARRIVING PENNILESS FROM LATE COLONIAL JAMAICA HE HAD ESTABLISHED HIMSELF AS A MODEL, STAGE AND FILM ACTOR, APPEARING IN EARLY EDITIONS OF Z CARS, THE PROFESSIONALS, THE ROLLING STONES’ FILM SYMPATHY FOR THE DEVIL, A CLIFF RICHARD MOVIE, A BRITISH AIRWAYS COMMERCIAL, AND REPERTORY THEATRES UP AND DOWN THE COUNTRY. I FIRST ENCOUNTERED HIM ON STAGE AT THE ROYAL OPERA HOUSE IN MICHAEL TIPPETT’S THE ICE BREAK.

But at the back of his mind he had always wanted to paint – and, convalescing from a serious neck injury following a water skiing accident – that’s what he began to do. He continued every day for forty years, so successfully that by the time of his death in North Kensington in 2013 he had created thousands of pictures and pots, and clocked up dozens of exhibitions as far afield as Australia, New York and Malta, at multiple galleries in England and of course in Jamaica.

The paintings were almost always landscapes and gardens in the Caribbean even though they were created largely from memory in a series of tiny West London council flats adorned – like the paintings- with vivid flowers and tropical plants.

A Jamaican, even the city dweller or diaspora member, finds his or her story in sonorous landscapes – montane, agricultural, domestic, sometimes peopled. Arcadia meant something different in 18th century Jamaica to what it meant in 18th century Britain but it still meant something. Patterson intuitively combines something European with something African-derived and uniquely Caribbean – all made in the crucible of London.

RudI was someone once met, never forgotten, and if you were lucky a friend for life. He grew up in Duckenfield, a mile or so from the Bath Botanical Garden (established 1779) in the easterly County of Surrey, Jamaica, in the lea of the towering Blue Mountains where it rains suddenly and often. Bath is where Captain  Bligh, buried at the Garden Museum, took breadfruit from the South Pacific in 1793. Descendants of these plants became a staple free food throughout the island and still grow at the gardens, where they are celebrated with an annual festival.

Head to the Garden Museum to experience his lively work for yourself and for an evening of prodigious cultural connections which will lead to the purchase by the Museum of Rudi Patterson’s painting Arcadia, and for the chance to see (and perhaps acquire for yourself) one of Rudi’s creations