Where in the World Wednesday

Image

london england st pauls

London, England; October 13, 2017

Advertisements

Soul of a Nation: Art in the Age of Black Power at the Tate Modern

If you’re in London in the next week, and you’ve not yet visited the Soul of a Nation exhibition at the Tate Modern, let this be encouragement to see it before it closes on the 22nd. If that’s not you, let this be a way to enjoy some excellent art. Content warning: some of these images are violent. Super important and well done, but potentially disturbing. Copyright note: I believe this falls within the Tate’s photography requirements of “personal use.”

The Soul of a Nation at the Tate Modern is one of the most challenging, upsetting, and thrilling art exhibitions I’ve been to in years. Before you even enter the exhibition space, you can watch snippets of speeches from five leaders of civil rights, Black Power, and liberation movements (Martin Luther King, Jr., Malcolm X, James Baldwin, Stokely Carmichael, and Angela Davis). You see Stokely responding to MLK and Malcolm X, James Baldwin teaching Europeans about American racism, Angela Davis taking a broad and pragmatic view of how the struggle fits in her life and she in it. This introduction to the exhibition is small but important. It situates us firmly within the black community in the United States in the 1960s and ’70s. We’re not hearing what white people thought about the issues or what approach white people thought black people should take; we’re hearing how black people had this discussion amongst themselves, and the myriad approaches they took to dismantling systemic racism and building a better world.

soul of a nation black power art london

April 4 by Sam Gilliam

Once you enter the exhibition space, with the voices of cultural and political leaders still ringing in your ears, you immediately meet the artistic leaders. Let no one tell you that art and politics don’t interact: the Spiral artistic group was formed in direct reaction to the March on Washington in 1963, so members could discuss how to represent black folks in their art, and how to fight political battles in their art.

soul of a nation black power art london

America the Beautiful by Norman Lewis

soul of a nation black power art london

Processional by Norman Lewis (apologies for the slight blurriness)

My favorite thing about these two paintings by Norman Lewis is how they talk to one another. “America the Beautiful” on the left is a collection of white figures on a black background, which as you look more closely you see is a KKK rally, taking over the canvas and popping up almost randomly, like you never know where they’re lurking, intending harm. “Processional” on the right is a collection of white figures on a black background, which as you look more closely you see is an energetic crowd of people marching forward. It’s the Selma march, and as the museum placard suggested, the gradually widening scope of the view of figures is like a flashlight leading through the darkness. Two similarly simple approaches, two radically different results.

The next room cleverly combined art of the Black Panther group (mostly from their paper but also from posters they mass-produced to reach more people) and murals painted in black neighborhoods in cities across the United States — this room was “art on the streets,” art that was made to inspire and fire up. Some of the murals have fallen into disrepair, but I know I’ve seen some — or some like them — on the south side of Chicago, although I can’t recall if I’ve seen the Wall of Respect, one of the first murals to go up during this time.

Some of the stories behind the pieces I was familiar with, and others were new to me. I did not know about Fred Hampton — Black Panther activist shot to death in a raid by Cook County cops after being drugged by an FBI informant. I did not know that during his trial for conspiracy and inciting a riot as part of the Chicago Eight, Bobby Seale was ordered bound and gagged in the courtroom by the judge because the judge didn’t like his outbursts. (Also Seale’s later prison sentence was not for the original charges but for contempt charges the judge applied during that trial.) Archibald Motley, who painted “The First One Hundred Years” over a ten-year period, never painted again after he completed this work.

Other groups and collectives formed, including the Weusi collective, the Black Emergency Cultural Coalition, AfriCOBRA, Smokehouse Associates, and many others. A few of the rooms in this exhibition feature work from just one or two groups, so you can get a good sense of the general approach and what they focused on.

soul of a nation black power art london

I Got Rhythm by Betye Saar

A room full of collage, sculpture, and found object art had some truly chilling pieces. Betye Saar’s work is deeply affecting — titles that seem carefree like “Sambo’s Banjo” and “I Got Rhythm” are attached to mixed-media punches to the gut. Each tiny item in each piece adds layers of meaning — the little crucifix at the bottom of a lynched man in “I Got Rhythm,” the toy gun nestled in the top of the banjo case so Sambo might have a chance of resisting and surviving in “Sambo’s Banjo.”

soul of a nation black power art london

Revolutionary by Wadsworth Jarrell

soul of a nation black power art london

Detail of Black Prince by Wadsworth Jarrell

Walking into the AfriCOBRA room midway through the exhibition was like walking into an air-conditioned building after walking for miles in summer heat, a relief. The AfriCOBRA manifesto was explicitly hopeful: they wanted an aesthetic of “rhythm,” “shine,” and “color that is free of rules and regulations.” They made works to lift people up, and they reprinted them for wide distribution, so that black people all over the country could be inspired by positive images of black folks. Which is not to say that this isn’t itself a challenge, because it certainly challenges the white supremacist myth that black people are inferior and not worth celebrating. And in fact most of the art was explicitly political as well, like the work by Gerald Williams reminding people “don’t be jivin” or Wadsworth Jarrell’s portrait of Angela Davis, made up of words from her speeches radiating from the center of the painting. Make no mistake, representation on your own terms is a powerful form of resistance.

One of the debates within the black artistic community at the time was whether abstract art could be considered part of the movement as a whole. Abstract artists argued that because the art was theirs, and they were black, it was therefore part of the political black art movement. It’s like improve in jazz, William T. Williams said, and then he painted Trane, named for John Coltrane, which I think is an excellent way to win an argument.

There was a room on photography and how different ways of developing film brought out different skin tones in the black subjects; there were connections to the wider Black Arts Movement and samples from poets who collaborated with visual artists; there were many reminders that one of the constant themes in black liberation movements of 50 years ago was an end to police brutality — for all those who want to talk about “how far we’ve come”; there was a Spotify playlist you could listen to on your headphones during your walk around the exhibition and which I listened to after, getting pumped up to Gil Scott Heron as I strode along the Thames. There was so much to see, read, and absorb. Much gratitude to the artists who fought the good fight and explored their own creativity during the 1963-1983 period explored here, and beyond.

soul of a nation black power art london

Bill & Son by Roy DeCarava

Where in the World Wednesday

Karl Marx grave Highgate Cemetery London UK

Highgate Cemetery, London, England; August 31, 2017

As McDonald’s workers strike for the first time in the UK, and workers fight for rights during the week of Labor Day in the US, seemed an appropriate time to post this

Highlights of My Edinburgh Fringe 2017

My first Fringe experience was as a flyerer and sometimes performer in 2014, so it was a different thing to go up as a paying punter this year. Liz and I went up with a friend of hers from college; the three of us each had our own bed in our own room in a flat we rented — such luxury! We bought our meals out and didn’t make any ramen noodles — such decadence! It was definitely a pricier way to do the Fringe, even for only three nights. But it was a lot of fun. I managed to see 14 shows in 3 days, as well as many street performers. Here are my highlights. Check out these acts if you can!

Edinburgh Castle scotland

Edinburgh Castle

Edinburgh Scotland Fringe

The stage for the Two Plus Ones show

Comedy

The three young guys of the Two Plus Ones delivered nonstop, silly sketch comedy in “Huge Night In.” Luke Sumner’s characters in particular were all the more hilarious for being so wholly conceived. They had a sketch about a canon support group that had me in stitches with its utterly stupid brilliance.

We met Roisin and Chiara while queuing for their show “We Are Not Afraid”; they handed out candies and made conversation while in character as red jumpsuited oddballs. Inside, they did what seemed a hybrid sketch/improv show, including lots of audience involvement, a disco soundtrack, surrealist humor, and at one point, a wolf mask.

The 1st Annual Black Comedy Showcase was brilliantly emceed by Che Burnley, who asked white male audience members where they were from, then no matter what they answered (London, Manchester), followed up with, “No but where are you really from? What’s your heritage?” (“Germany, maybe? My girlfriend went there, she said it’s really beautiful and the people are so nice”). I hope the few confused people in the audience eventually got that he was pointing up the offensive and ridiculous nature of the same question when it’s posed to people of color on the regular. Che was a warm and friendly host, but make no mistake, he had clear intentions with this showcase. I loved it.

The standout act from the showcase was Athena Kugblenu, a London-based comedian who had one of the Jokes of the Fringe. She has this droll delivery that just kills me, and it doesn’t hurt that her mix of the personal and the political hits my sweet spot for stand-up.

Edinburgh Scotland Fringe

Some of the lovely old buildings in Edinburgh

Spoken Word/Storytelling

The Banshee Labyrinth is one of the main centers for spoken word at the Free Fringe, and it was kind of a trip to go back there and see a show in the same little room that I’d performed in three years ago. We watched four young poets perform “A Matter of Time,” an interconnected group of poems told from the point of view of one person, at four different points in their timeline. It was a neat concept, and beautifully executed. If you like your poetry heartfelt but not sentimental, reflective but not navel-gazing, check out Ellen RentonShannon MacGregorRoss McFarlane and Bibi June.

Liz has seen Theatre Ad Infinitum shows before and wanted to see whatever they were putting on at the Fringe this year. We went to see Homer’s “Odyssey,” and were thrilled to find it was a spellbinding one-man storytelling hour. Spellbinding is not hyperbole here: I was fully immersed in the story from the first word, and breathed a deep sigh of contentment at the end.

Edinburgh Scotland Fringe

The Big Top Circus Hub on the Meadows

Dance/Circus

The circus is the place to go when you want to be reminded of how amazing the human body is, and Bibi and Bichu‘s “Circus Abyssinia: Ethiopian Dreams” provided myriad reminders. I actually gasped in awe several times and applauded wildly every time they held a pose or finished a tumble.

I’m pretty sure everyone in the audience cried during 201 Dance Company‘s “Skin,” a hip hop dance show about a kid growing up and coming out trans*. The dancing was urgent and emotional, especially from the protagonist and their mother. Including a child dancer to mirror the adult protagonist was a great choice, and it’s good to see an FTM transition, which is a story not told as often as an MTF one, I think.

Theater/Cabaret

One of the most perfect play-within-a-plays I’ve ever seen, Willis & Vere‘s “The Starship Osiris” made me laugh for the entire show. A self-obsessed man puts on the most ridiculous sci-fi show glorifying himself, and everything breaks down spectacularly when the cast rebels. The details in the performances were spot-on, from the particular preening of the director to the facial expressions of the babed-up female crew members.

Pollyanna is the queer cabaret we all need in our lives. Polyfilla hosts, and the night we went we saw several excellent acts, including a drag king performing to a clever medley of songs about being a boy/man and Pollyfilla leading the audience in a participatory musical about Theresa May that made you laugh through the horror of the current political climate.

Nearly all of these acts are UK-based, so if you are too, be sure to check out their Twitter/FB pages in the links I’ve provided and see when their upcoming shows are. Even if you aren’t based in the UK, art travels, so why not follow them anyway in case they come to your town. If you get a chance to see any of these, I highly recommend that you do!

Edinburgh Scotland Fringe

St Giles Cathedral

Edinburgh Scotland Fringe

Street performance on the Royal Mile

 

UPDATED: My Photo Featured in National Geographic Traveler Magazine

Exciting news: a photo from my Tintern Abbey post three years ago was selected by National Geographic Traveler magazine to feature in an article on Wales. This is the first time I’ve licensed a photo, and it feels very cool to even write that, let alone have done it. Got a little credit line and everything.

It’s an American magazine, so if you’re in the States, stop by any good bookshop and grab a copy! You can also check out subscription info here. The annual digital subscription is only $8 and is for iPads, Amazon Kindle Fires, Nooks, and Android devices. The photo takes up the whole screen in the digital edition and it’s a two-page spread in the printed copy.

Look, my mom acquired a copy and sent it to me here in the UK!

National Geographic Traveler magazine photo

I know it’s true but I can still hardly believe it!

 

National Geographic Traveler magazine photo

Voila! Two-page spread in a National Geographic publication.