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Black Artists in British Art
Black artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.
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From scottsboro to munich
Presenting a portrait of engaged, activist lives in the 1930s, From Scottsboro to Munich follows a global network of individuals and organizations that posed challenges to the racism and colonialism of the era. Susan Pennybacker positions race at the center of the British, imperial, and transatlantic political culture of the 1930s--from Jim Crow, to imperial London, to the events leading to the Munich Crisis--offering a provocative new understanding of the conflicts, politics, and solidarities of the years leading to World War II.
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Companion to Contemporary Black British Culture
The Companion to Contemporary Black British Culture is the first comprehensive reference book to provide multidisciplinary coverage of the field of black cultural production in Britain. The publication is of particular value because despite attracting growing academic interest in recent years, this field is still often subject to critical and institutional neglect. For the purpose of the Companion , the term 'black' is used to signify African, Caribbean and South Asian ethnicities, while at the same time addressing the debates concerning notions of black Britishness and cultural identity. This single volume Companion covers seven intersecting areas of black British cultural production since 1970: writing, music, visual and plastic arts, performance works, film and cinema, fashion and design, and intellectual life. With entries on distinguished practitioners, key intellectuals, seminal organizations and concepts, as well as popular cultural forms and local activities, the Companion is packed with information and suggestions for further reading, as well as offering a wide lens on the events and issues that have shaped the cultural interactions and productions of black Britain over the last thirty years. With a range of specialist advisors and contributors, this work promises to be an invaluable sourcebook for students, researchers and academics interested in exploring the diverse, complex and exciting field of black cultural forms in postcolonial Britain.
'This companion will be welcomed by anyone interested in black British culture - it fills a gap, and is unequalled in its comprehensiveness and depth. This remarkable companion is packed with information and revelations, and will surely become an indispensable guide to anyone researching black British cultural production.' - Modern Humanities Research Association
'Contributors give a very personal view of the subjects and do not shy away from controversy or issues such as racism. Fascinating...this volume deserves to be in all collections on culture or contemporary British society.' - Choice
Alison Donnell is a senior lecturer in postcolonial literatures at Nottingham Trent University. She is co-editor of The Routledge Reader in Caribbean Literature (1996) and joint editor of Interventions: International Journal of Postcolonial Studies .
Entries include: L^Oswald Boateng David A. Bailey Bhangra Naomi Campbell Channel 4 Feminism Live Art Jungle Hanif Kureishi Photography Notting Hill Carnival SuAndi The Voice Windrush Youth culture
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Black Salt
During the Age of Sail, black seamen could be found in many shipboard roles in the Royal Navy, such as gunners, deck-hands and ‘top men’, working at heights in the rigging. In the later Age of Steam, black seamen were more likely to be found on merchantmen below deck; as cooks, stewards and stokers. Nevertheless, the navy was possibly a unique institution in that black and white could work alongside each other more than in any other occupation. In this fascinating work, Dr. Ray Costello examines the work and experience of seamen of African descent in Britain’s navy, from impressed slaves to free Africans, British West Indians, and British-born Black sailors. Seamen from the Caribbean and directly from Africa have contributed to both the British Royal Navy and Merchant Marine from at least the Tudor period and by the end of the period of the British Slave Trade at least three percent of all crewmen were black mariners.
Black sailors signed off in British ports helped the steady growth of a black population. In spite of racial prejudice in port, relationships were forged between sailors of different races which frequently ignored expected norms when working and living together in the isolated world of the ship.
Black seamen on British ships have served as by no means a peripheral force within the British Royal and Mercantile navies and were not only to be found working in both the foreground and background of naval engagements throughout their long history, but helping to ensure the supply of foodstuffs and the necessities of life to Britain. Their experiences span the gamut of sorrow and tragedy, heroism, victory and triumph.
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Impossible purities : blackness, femininity, and Victorian culture
Using black feminist theory and African American studies to read Victorian culture, Impossible Purities looks at the construction of \"Englishness\" as white, masculine, and pure and \"Americanness\" as black, feminine, and impure. Brody's readings of Victorian novels, plays, paintings, and science fiction reveal the impossibility of purity and the inevitability of hybridity in representations of ethnicity, sexuality, gender, and race. She amasses a considerable amount of evidence to show that Victorian culture was bound inextricably to various forms and figures of blackness.
Opening with a reading of Daniel Defoe's \"A True-Born Englishman,\" which posits the mixed origins of English identity, Brody goes on to analyze mulattas typified by Rhoda Swartz in William Thackeray's Vanity Fair, whose mixed-race status reveals the \"unseemly origins of English imperial power.\" Examining Victorian stage productions from blackface minstrel shows to performances of The Octoroon and Uncle Tom's Cabin, she explains how such productions depended upon feminized, \"black\" figures in order to reproduce Englishmen as masculine white subjects. She also discusses H.G. Wells's The Island of Dr. Moreau in the context of debates about the \"new woman,\" slavery, and fears of the monstrous degeneration of English gentleman. Impossible Purities concludes with a discussion of Bram Stoker's novella, \"The Lair of the White Worm,\" which brings together the book's concerns with changing racial representations on both sides of the Atlantic.
This book will be of interest to scholars in Victorian studies, literary theory, African American studies, and cultural criticism.
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