1 Windrush Square
Brixton, SW2 1EF
A sunny spring morning saw us strolling through Windrush
Square to the Black Cultural Archives whose premises have only been open a few
months. However it took 33 years for the idea for an archive which found its
genesis in the 1981 Brixton riots to come to its own home in 2014
and a very beautiful home it is. Windrush Square is a very pleasant open space,
set a little back from the main road and endless stream of buses which divides
Brixton – and the building has been lovingly restored with a sparkly new and
very accessible entrance. The library/archives etc. are housed on the upper floors with a small exhibition
space on the ground floor, and that was our destination today. Fittingly, if
you think about the 33 year wait, the exhibition is called ‘Staying Power: Photographs of Black British Experience 1950s-1990s.’
The title is even more applicable when you follow the photos
and history and realise this a community very much here to stay, integral to
British life but with progress yet to make. The exhibition is also the result
of a long-term collaboration with the Victoria & Albert Museum
though it is a little hard to find it on their website at the moment, obsessed
as they currently are with Alexander McQueen. The exhibition title is borrowed
from an earlier book, published 1984, which traces the history of black people
in the UK from essentially Tudor times and the start of the slave trade.
The exhibition however focuses on the power of photography
to look at the more recent aspects of this long history. The photographs are
both documentary and posed. The captions explain quite clearly the origins and
careers of the individual photographers – some specialising in fashion, others
in reportage, with work appearing in journals and newspapers. Their origins too
cover the span of Caribbean islands. Each
photograph is also put into a context of the Black British community’s
contemporary experience – for example, the very striking young men posing
outside the Black Power House in Brixton. Power is seen equally in the pride
showing off new hair styles/clothes and music systems, all aspects of culture taken for granted and
reflected daily for the white population
in the white British press, which so rarely (or joyfully) depicts the
Black British experiences. Chilling still are the images of overt racism in the
notes posted in ‘Rooms To Let’.
The group of coloured photos, carefully composed, on the end
wall show a series where models are posed with stereotypical images of the
black community – water melons/sugar cane against a very English-looking
country background to highlight the power of image by making overt the
subliminal messages.
We found the small exhibition thought provoking for the way
in which it showcased at once talented black photographers and their powerful
subjects (in both senses of both words).
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