Multicultural Britain , Black British art

1. MulticulturalBritain, Black British art

2. G. V. Desani:All about H. Hatterr(1948)rigmarole English “I tell you, my name is H. Hatterr! Damme, you think I am Pundit Lolly, don’t you? Well, nil desperandum, old dear! Here’s mud in yer eye! Here’s skin orfyer nose! Chin, chin, me china! Bottoms, up! Phooey, old feller! Have a raspberry! Play days, pal! Some papillote paper? Ot would you prefer Unter den Linden? Maul a moll, Govinda, I am not a pundit at all! Ketch me, I am a married man! Been marchin’ to Mendelssohn! Ask Ivan Ivanovitch! Or would you prefer widow Jones? Hogy van, Widow Jones? Kezétcsókolom, Widow Jones! Ha, ha, ha, ha! (Dickens of a laugh.) By Harper’s Bazar, makes you think, doesn’t it? Makes you feel kinda green and balmy, doesn’t it, lovey-dovey? Makes you feel like quitting, sort of salaams! Adios! Sayonara! All the best auf Wiedersehn, eh, feller? Kia ora? Too right! Give it to you in straight Magyar, shall I, amicomio? Apám, Apám, nemértesz, édesApa? Aloha ee! Damn sakes alive, let me out!”

3. M. Thatcher: “People are really afraid that this country might be rather swamped by people with a different culture. You know, the British character has done so much for democracy, for law, and done so much throughout the world, that if there is any fear that it might be swamped, people are going to react and be rather hostile to those coming in.”

4. HanifKureishi: „It is the British, thewhiteBritish, whohavetolearnthat being British isn’twhatitwas. Nowit is a more complexthing, involvingnewelements. Sothere must be a freshway of seeingBritain and thechoicesitfaces; and a newway of being British afterallthistime.” („The RainbowSign”)

5. „Everythinginthisstrange country washardtobelieve” (Joan Riley: The Unbelonging) „England has changed. These days it’s difficult to tell who’s from around here and who’s not. Who belongs and who’s a stranger. It’s disturbing. It doesn’t feel right.” (Caryl Phillips A Distant Shore)

6. Jackie Kay: In My Country Inmy country Walkingbythewaters Down where an honest river shakeshandswiththesea, a womanpassedroundme in a slow, watchfulcircle, asif I were a superstition; ortheworstdregs of herimagination, sowhenshefinallyspoke herwordssplicedintobars of an old wheel. A segment of air. Wheredoyoucomefrom? ʻHere’, I said. ʻHere, theseparts.’ (fromOtherLovers, Bloodaxe, 1993)

7. 1980s: Black British art • Blk Art Group (Keith Piper, Donald Rodney): showsin mid-198ís • 1985: The Thin Black Lineexhibition, heldinthecorridors and stairwells of London’s Institute of ContemporaryArts (ICA) • 1989: The Other Storythefirsthistoricalsurvey of black and Asianartistsinpost-WW2 Britain ( HaywardGallery)

8. 1980s: Black British culture • Theatre of Black Women (BernardineEvaristo) • Anthologies (News fromBabylon, 1984) • Black intellectuals: Paul Gilroy, Stuart Hall, HomiBhabha, RasheedAraeen (Third Text) • Postcolonialstudies • Mainstreamsuccess: BookerPrizeto Rushdie (1981), Ben Okri (1991) • Turner PrizetoAnishKapoor and Chris Ofili

9. Breakthroughfilms and tv shows • MyBeautifulLaundrette (1984) • Bhajionthe Beach (GurinderChadha, 1994) • East Is East (1999) • BendItLikeBeckham (2002) • GoodnessGraciousMe, Citizen Khan • Popularmusic (Cornershop, SheilaChandra, NitinSawhney, TalvinSingh, AsianDubFoundation, Sade, Fun-da-Mental, Goldie, LaureMvula, Bishi)

10. Black British – diaspora RasheedAraeen: „It may be a convenient term to refer to the work ofblack artists, but it also implies that their work is or should be different from the mainstream of modern culture ... ‘Black art’, if this term must be used, is in fact a specific historical development within contemporary art practices and has emerged directly from the joint struggle of Asian, African and the Caribbean people against racism, and the art work itself explicitly refers to that struggle.” Fred D’Aguiar:‘Against Black British Literature’ ‘skin deep’ herding of black people into one category • Black aesthetics, diasporaaesthetics

11. Anish Kapoor: Cloud Gate

12. LubainaHimid: Namingthe Money (2004)

13. My name is Walukaga They call me Sam I used to chase wild boar Now the dogs do it for me And they have the meat My name is Nnamdi They call me Dan I used to have six drums Now I borrow these And it takes some skill My name is Asiza They call me Sally I loved to work the clay Now I sweep the yard But I love the mud

14. Revisiting histoy • ‘As a black person and a woman I don’t read history for facts, I read it for clues.’ (Alice Walker)

15. Hew Locke: Natives and Colonials (Capt. Cook, Queen Victoria)

16. Hew Locke: Natives and Colonials (Cromwell, Churchill)

17. Hew Locke interview "These works are a kind of ‘mindful vandalism’  I do think carefully about which statues I’m working with. "The colour is vital because for me it’s about reinvigorating these sculptures and putting across an idea that they could be brightly painted. This also hints at a constant concern of mine: ... monumental sculpture, in the West is still shaped by the fact that all the colour came off the Greek statues. If all the Greek statues had maintained their colour then we’d have a completely different view of what a monumental sculpture should look like, what colour it should be, and not this whole idea of the purity of marble or the elegant quality of the bronze."

18. Yinka Shonibare: HMS Victory Returns from Trafalgar (Fourth Plinth 2010)

20. MaudSulter Calliope (1992, herself) Terpsichore (Delta Streete)

21. Picasso: TwoWomenRunningonthe Beach (1922) - LubainaHimid: Freedom and Change

22. RotimiFani-Kayode: LightWork

23. RotimiFani-Kayode: EcstaticAnti-Bodies

24. RotimiFani-Kayode

25. SoniaBoyce: FromSomeoneElse’sFearFantasytoMetamorphosis (1987)

26. Chris Ofili: The Holy Virgin Mary

27. YinkaShonibare • “Historicallythepeoplewho made huge, unbrokenmodernistpaintingsweremiddle-classwhite American men. I don'thavethatphysique; Ican'tmakethatwork. So I fragmentedit, in a waywhich made itbothphysicallymanageable and emphasizesthepoliticalcritique.” • usesjazzy (West) Africanfabrics(batik) purchasedinBrixton market thatturn out to be manufacturedin Korea orIndonesia - hintingatthe trade routes

28. YinkaShonibare: The Swing (afterFragonard), 2001

30. YinkaShonibare: • Sir Foster Cunliffe, Playing

31. Yinka Shonibare: The Three Graces

32. Shonibare: Diary of a Victorian Dandy

34. William Hogarth: The Rake’sProgress

35. Ingrid Pollard: Pastoral Interlude

36. Ingrid Pollard: Postcard

37. Chris Ofili: No Woman No Cry (1998) Tribute to Stephen Lawrence, teenage victim of a racist killing

38. Chris Ofili: No Woman No Cry (Tate Gallery)

39. Slave trade • George Lamming: Natives of My Person (1972); Barry Unsworth: SacredHunger (1992); CarylPhillips: Cambridge (1991), The Nature of Blood (1997); Fred D’Aguiar: Feeding the Ghosts (1997); James Robertson: Joseph Knight (2003);Bernardine Evaristo: Blond Roots (2009); Andrea Levy: The Long Song (2007)

40. David Dabydeen: Slave Song (1984) • „Song of theCreole Gang Women” • Wuk, nottinbuwuk / Maannoon an nightnuttinbuwuk • Bookerownmepatacake / Bookerownmepickni. • Pain, nuttinbupain • Waanmilliontous’neacrecane. • O sincemebaan – juk! Juk! Juk! Juk! Juk! • Sosuninmeeyeliketaan • SoBookersaachdeepinmeflesh • KaseBookerownmerass • An Bookerownmecutlass – • Bumeduncuss … Gaadlehme na cuss no mo! • Caaninmefinga, caaninmefoot-bottom • CHORUS: Dosay an mittae, dosayanmittae, • Bookerput e moutonmelikepirae.

41. History • Genocide • Tasmania – Robert Edric: Elysium (1995) • Kenya (MauMaurevolt) – Adam Foulds: The Broken Word (2008) • Firstopiumwar (1839-41) • TimothyMo: InsularPossession (1986) • Trading post inCanton

42. Rewriting texts • (1)Robinson Crusoe • J. M. Coetzee: Foe • Michel Tournier: Friday or the Ends of the Pacific

43. Rewritingtexts • (2)Heart of Darkness • Graham Greene: The Heart of theMatter (1948); Anthony Burgess: MalayanTrilogy (1950s); MalcolmLowry: UndertheVolcano (1947) • Robert Edric: The Book of theHeathen (2000); V. S. Naipaul: A BendintheRiver (1972); JustinCartwright: Interior (1988); • TayibSaleh: Season of MigrationtotheNorth (1966) • NgugiWaThiong’o: A Grain of Wheat(1967); Ama Ata AidooOurSisterKilljoy(1977); DambudzoMarechera: Black Sunlight(1980); ZakesMdaHeart of Redness(2000); Wilson Harris: Guyana Quartet (1960s); ChristopherHope: Darkest England (1996) • Coppola: ApocalypseNow; Werner Herzog: Fitzcarraldo

44. „The heart of darkness is notAfrica. • The heart of darkness is thecore of fire • inthewhite centre of the holocaust. • The heart of darkness is therubberclaw • selectinga scalpelinantisepticlight, • thehills of children’sshoesoutsidethechimneys.” (Derek Walcott: „The FortunateTraveller”

45. Rewritingtexts • (3)Jane Eyre • Jean Rhys: Wide SargassoSea (1966); D. M. Thomas: Charlotte (2000)

46. Rewritingtexts • (4)Shakespeare: The Tempest • AiméCésaire: UneTempete • Barry Unsworth: Sacred Hunger (1992) • Marina Warner: Indigo (1992) • Sycorax, Dulé (Caliban), Ariel; Miranda and Xanthe

47. Hybridities: magic realism Germany, 1920s (painting: Magischer Realismus, Neue Sachlichkeit) Latin America, 1950 – cultural identity (‘lo real maravilloso’ – Alejo Carpentier) 1968: G. García Márquez: One Hundred Years of Solitude – literary mode 1980s: postcolonial criticism (in Canada) Rushdie, early José Saramago, Angela Carter, Graham Swift, Winterson, Ben Okri, Robert Kroetsch, Toni Morrison, Darvasi László

48. Salman Rushdie: Midnight’s Children (1981) • ; Saleem Sinai, Padma • “I was born in the city of Bombay … once upon a time” “I must work fast, faster than Scheherezade, if I am to end up meaning  yes, meaning  something.” • “Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine.” • “I was already beginning to take my place at the centre of the universe; and by the time I had finished, I would give meaning to it all.”

49. Contemporary hybridities • Sam Selvon: The Lonely Londoners (1956) Moses Aloetta, Henry Galahad Oliver • “And Galahad watch the colour of his hand, and talk to it, saying, ’Colour, is you causing all this, you know. Why the hell you can’t be blue, or red or green, if you can’t be white? You know is you that cause a lot of misery in the world. Is not me, you know, is you! I ain’t do anything to infuriate the people and them, is you! Look at you, you so black and innocent, and this time you causing misery all over the world!’ So Galahad talking to the colour black, as if is a person”

50. Hanif Kureishi: The Buddha of Suburbia (1990) • “My name is Karim Amir, and I am an Englishman born and bred, almost. I am often considered to be a funny kind of Englishman, a new breed as it were, having emerged from two old histories.” • Meera Syal: Anita and Me (1996)