https://www.bcaexhibits.org.uk/the-collection daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/the-collection/carnival-man-photograph monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615414802746-S0G24MWU9G6VOUGE563G/Carnival+man+crop.jpg The Collection - ‘Carnival Man’ A black and white photo of a man dressed in carnival costume which consists of a doublet, black breeches and stockings and straw espadrille like sandals. In his hands he holds a staff. His posture is leant to the right, where is right leg is bent in a plié and his left leg extended. https://www.bcaexhibits.org.uk/the-collection/fire-iron-set-holder-with-decorative-head monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915690406-YKEYLELVWOMB3HE798NW/Fire+iron+set+holder+1.JPG The Collection - Fire iron set holder with decorative head A close up of the head from the left side, showcasing detail of the hair. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915692209-MWDCJLIT0AHDJYPXMN7O/Fire+iron+set+holder+2.JPG The Collection - Fire iron set holder with decorative head A close up of the head of the stand from the back. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915693624-SPCY8J0H4HQJM7F2LENH/Fire+iron+set+holder+3.JPG The Collection - Fire iron set holder with decorative head A black fire iron set holder the top of the stand are four hooks, three at the front and one at the back. At the top there is a sculpture of a Black woman in profile. Her fours braids, eyebrows, lips and necklace are painted gold. Her eyes are closed and her head tilts back to her nose and mouth tilt upwards. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915748506-07GZ5JD60MJS67POIWZF/Fire%2Biron%2Bset%2Bholder%2B4.jpg The Collection - Fire iron set holder with decorative head A black fire iron set holder showing the tall stand. Towards the top of the stand are four hooks, arranged radially around the stand. At the top there is a sculpture of a Black woman in profile. Her fours braids, eyebrows, lips and necklace are painted gold. Her eyes are closed and her head tilts back to her nose and mouth tilt upwards. https://www.bcaexhibits.org.uk/the-collection/caribbean-stars-in-gala-classical-extravaganza monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615413706963-DH2FCS2E03TNOFOJYW1O/caribbean+stars+gala+1.png The Collection - 'Caribbean stars in Gala Classical Extravaganza' A faded white souvenir programme and notes for an event titled 'Caribbean Stars in Gala Classical Extravaganza' at the Royal Albert Hall, Thursday 6th November 1986. The poster has black and white headshots of the performers. https://www.bcaexhibits.org.uk/the-collection/lively-up-yourself monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615413205932-KJFOGUMV4BQ1HAYAL7DD/lively+up+yourself.png The Collection - 'Lively up Yourself' A yellow flyer for the 'Lively up yourself' tribute festival with listings for performers, ticket prices and nearest tube stations. The following performers are listed on the flyer: 'I-Threes The Melpody Makers Bob Andy The Potato fIVE WITH fLOYD lLOD Lorna Gee Base One' The event was held on Saturday October 8th 1986 at the Royal Albert Hall https://www.bcaexhibits.org.uk/the-collection/zulu-love-letter monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916211877-EOYAKHBHX9MF62849JF1/Zulu+Love+Letter+2.JPG The Collection - Zulu love letter A brown envelope which reads 'Betty Hlela's beads' in handwritten biro pen. The Zulu love letter card with the safety pinned Zulu beaded badge is placed on top of it on the left. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916680728-ZX09VOSS648OCGVVFNIZ/Beads.JPG The Collection - Zulu love letter A display of nine beaded badges in the shape of dragonflies, caterpillars and crocodiles. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615297941086-EOQRY338VAHQSHRH7F58/zulu+love+letter+1.png The Collection - Zulu love letter A light green paper booklet with the title in capitals: 'Zulu Love Letter'. A safety pin has been pierced through it. Attached to the safety pin is a small Zulu style beaded badge made up of light blue beads with two white-outlined, black triangles pointing inwards, their bases paralell to the left and right edges of the badge. A red cross on a black background connects the diagonal corners. At the bottom edge of the beaded badge are three comparatively larger milky white beads. A white label that reads 'SARAFINA' is attached to the top of the beadwork, pierced through by the safety pin. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615297941469-YBZE39NAJ4ZTHVWWL550/zulu+love+letter+2.png The Collection - Zulu love letter Zulu love letter card, opened. On the left side reads: 'ZULU LOVE LETTER (Newadi) 'Love letters' are messages woven in beads by Zulu maidens to be given to their lovers as symboles of love and affection.' The right side reads: 'MEANING OF THE COLOURS White: The colours for purity, vision and love itself Black: I have turned pitch black as the rafters of the hut because I miss you so Yellow: If I were a dove I would I would fly to your home and pick up food at your door Pink: You should work harder to get lobola not gamble and waste your money Green: I have become thin like the sweet canein a damp field and freen as first shoots of trees because of my love for you Red: My heart blees and is full of love.' https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615297946290-2D7DHQCPM31LVK6NWEFR/zulu+love+letter+3.png The Collection - Zulu love letter On the left is a brown envelope which reads 'Betty Hlela's beads' in handwritten biro pen. The Zulu love letter card with the safety pinned Zulu beaded badge is placed on top of it. On the right is a box of nine beaded badges in the shape of dragonflies, caterpillars and crocodiles https://www.bcaexhibits.org.uk/the-collection/hand-made-framed-commemorative-plaque-of-the-queen-elizabeth-the-queen-mothers-visit-to-nyasaland monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915922459-3AGIUA6KY2WWC3444YVX/Her+Majest+The+Queen+Mother.JPG The Collection - Hand made framed commemorative plaque of Queen Elizabeth the Queen Mother's 1953 visit to Nyasaland (Malawi) A letter written in old fashioned handwriting with red gothic capitals. The letter is in a wooden frame which has a square wooden handle at the top of it. The letter reads: “Nyasaland. Her Majesty The Queen Mother. We are very pleased indeed to see you and your company. Your coming to Nyasaland has a remark of history that will never be forgotten. You are the first person who has visited Nyasaland from the Royal Family, and we are specially proud of it. We have the hope that more people from the Royal Family will be able to come in the future and visit us. As we are small children, we have therefore prepared this smallest present for you. Lastly we wish you good success in your daily careers. U.M.C.A Matope I.Pr.School” https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615297046869-V0472ID0ROH49T8TNNQW/Nyasaland+double+sided+commemorative+plaque+3.jpg The Collection - Hand made framed commemorative plaque of Queen Elizabeth the Queen Mother's 1953 visit to Nyasaland (Malawi) An old black and white photo in a wooden frame. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915960705-IXRUURU134QMWPBPS2KV/Her+Maj+the+Queen+Mother+2.JPG The Collection - Hand made framed commemorative plaque of Queen Elizabeth the Queen Mother's 1953 visit to Nyasaland (Malawi) An old black and white photo in a wooden frame. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615297046935-KFQOESX8CDJLMP6NNH28/Nyasaland+double+sided+commemorative+plaque+4.jpg The Collection - Hand made framed commemorative plaque of Queen Elizabeth the Queen Mother's 1953 visit to Nyasaland (Malawi) An old black and white photo in a wooden frame. https://www.bcaexhibits.org.uk/the-collection/iron-bell monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615295901271-49DDBV22O8OWJ496R2KD/cow+bell+1.png The Collection - Iron bell A long cowbell which opens into the shape of a fan at one end and narrows down at the other. At the fan end there is a small label. There are clear yellow and green beads threaded on a string wrapped around the slim end. The cow bell is in a box on white wrapping paper. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615295902402-X6OJQXMNEVUYKO3U6KS4/cow+bell+2.png The Collection - Iron bell A long cowbell which opens into the space of a fan at one end and narrows down at the other. This close up view shows the depth of colour of the beads. There are clear yellow and green beads threaded on a string wrapped around the slim end. https://www.bcaexhibits.org.uk/the-collection/drinking-gourd monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915488521-O9WIC1FEEAKLC2MPVBDA/Drinking+gourd+1.JPG The Collection - Drinking gourd A medium brown gourd which has one large bulbous shape at the bottom and a more elongated slimmer bulbous shape at the top. At the narrowest point there is a leather strip wrapped around it. The gourd sits on white protective wrapping paper. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915488771-D05ZCKT97FQ2HXC1CJL5/DRinking+gourd+2.JPG The Collection - Drinking gourd A medium brown gourd which has one large bulbous shape at the bottom and a more elongated slimmer bulbous shape at the top. It. is viewed from the top so you can see the hole in the top. Closer to the viewer is an old fashioned measuring tape. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915490733-LYFMNEZTYGKHVGYN1S88/drinking+gourd+3.JPG The Collection - Drinking gourd A medium brown gourd viewed from the base. In the photo there is an old-fashioned measuring tape closer to the viewer. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615239586291-IJIGTTY8HCEPB18ON63W/drinking+gourd+2.png The Collection - Drinking gourd A label on aged paper with a leather thong tied through one end. The label reads: “Universities’ Mission to Central Africa Office- Central Africa House, Wood Street, West Minster Box....No.....From....Article Drinking Gourd NOT FOR SALE”. https://www.bcaexhibits.org.uk/the-collection/thick-brass-manilla-bracelet-with-etchings monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615238179060-AW2MFL752P733XUBMKDZ/heavy+brass+bracelet.png The Collection - Thick brass manilla bracelet with etchings A thick bracelet object which has open ends. It is dark and a little rough textured. On the front you can see carved symbols which in order from left to right are a vertical symbol, a rectangular shape made up of four imprinted lines and another carved vertical symbol. https://www.bcaexhibits.org.uk/the-collection/large-wooden-combs monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916844641-DD3LWO036DJCPIU12FH6/Ashanti+combs+1.JPG The Collection - Ashanti combs A pair of dark wooden combs. Each comb is made up of three vertical sections: the top section shows an abstract humanoid figure under an arch. The second section has a stool which holds up the floor which the humanoid figure is on. The third section is made up of the comb teeth which end in slightly rounded points. Each comb has 12 teeth. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916846012-7NRNL4BPQY8NZ0SS1XYI/Ashanti+conb+2.JPG The Collection - Ashanti combs A close up of an Ashanti comb. The comb has three vertical sections: the top section shows an abstract humanoid figure under an arch. The second section has a stool which holds up the floor which the humanoid figure is on. The third section is made up of the comb teeth which end in slightly rounded points. Each comb has 12 teeth. https://www.bcaexhibits.org.uk/the-collection/brass-wall-mounts monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916550982-Z1ER7RWT7QYKTXIM65TW/Brass+wall+mount+2.JPG The Collection - Pair of brass wall mounts A brass wall mount depicting a man's head. On their headwear you can see details such as criss crossing strips of metal. Around their neck is an elaborate collar of a lace-like design. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916554637-A8XKKV0P2OBP0SVUPMYP/Brass+wall+mount+4.JPG The Collection - Pair of brass wall mounts The back of a brass wall mount depicting a man's head. From this view it is clear that the mount is hollow. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916549788-8LXCMMFR950FHMH28DX8/Brass+wall+mount+3.JPG The Collection - Pair of brass wall mounts A brass wall mount depicting the face of a bearded and moustachioed man, with an elaborate headdress and neck piece. The headdress is cut through and has three protruding, crown-like features. The neckpiece consists of lines and circles. The features are simplified and the expression blank. At the top is a loop through which runs piece of metal wire, likely used to hang on a wall. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916553625-MZWYMMT64TQIA8JRAMAG/Brass+wall+mounts+1.JPG The Collection - Pair of brass wall mounts A photo of two brass wall mounts lying side by side in their protective wrappings. On the left is a wall mount of a bearded and moustachioed soldier; on the right a man wearing a traditional headpiece. https://www.bcaexhibits.org.uk/the-collection/ornamental-oshe-axe monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916741216-1A52WV16BL11C5UB7CCS/Axe+2.JPG The Collection - Ornamental oshe axe A wooden axe with a metal blade which splits into two sharp prongs on one side. The flat blade end has diamond shaped holes and is perforated with geometric decorations. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916743299-M6IAH6X6RU9RBS2JC55U/Axe+3.JPG The Collection - Ornamental oshe axe A wooden axe with a metal blade viewed from the front. The flat blade end has diamond shaped holes and is perforated with geometric decorations. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615236301151-9PHYXZMZYBEQBCLOC7B9/club+1.png The Collection - Ornamental oshe axe A wooden axe with a metal blade which splits into two sharp prongs on one side. This is a close up of the wooden handle, showing details of two prongs shaped like snake’s fangs descending from the head of the wooden handle. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615236275196-D1WT0QFKN42AVX2426QW/belt.png The Collection - Ornamental oshe axe This is a close up of the blade on the ornamental oshe axe. The designs on the blade are clearer to identify. https://www.bcaexhibits.org.uk/the-collection/bronze-replica-iyoba monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916039456-BQP8RAMB2FQT46XSZ7Q6/Queen+Mother+benin+style+cast+2.JPG The Collection - Bronze replica in the style of the bronze casting of the Kingdom of Benin, southern Nigeria. A close up of a bronze bust of a feminine face. Her hair is styled as an elegant cone slightly curved forward. Around the cone are criss crossed strips of bronze. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916433931-L4C5XD7F3E5RVQP9N75U/Benin+bronze+style+cast+queen+mother+1.JPG The Collection - Bronze replica in the style of the bronze casting of the Kingdom of Benin, southern Nigeria. A bronze bust of a feminine face, showing more of her face, bust and hair. Her hair is styled as an elegant cone slightly curved forward. Around the cone are criss crossed strips of bronze. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916433085-BGKWJ8UMEBHBV78ZZ1B2/Benin+bronze+style+cast+queen+mother+3.JPG The Collection - Bronze replica in the style of the bronze casting of the Kingdom of Benin, southern Nigeria. A bronze bust of a woman shown from the left. The detailed corn row braids running up the side of her face are evident. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615233266678-5OW8S6W5N1CZOAKASV7A/Benin+Bronze+Queen+Mother+3.png The Collection - Bronze replica in the style of the bronze casting of the Kingdom of Benin, southern Nigeria. A bronze bust of a woman shown from the right. The detailed corn row braids running up the side of her face are evident. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615233264743-9FI5O9029DMIY0SQFONZ/Benin+Bronze+Queen+Mother+2.png The Collection - Bronze replica in the style of the bronze casting of the Kingdom of Benin, southern Nigeria. A bronze bust of a woman shown from the back. The detailed corn row braids running up the back of her head are evident. https://www.bcaexhibits.org.uk/the-collection/eek-a-mouse-and-his-band-flyer monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614351137624-201T9HPNNK9YCX3XFUKC/eek-a-mouse+1.png The Collection - Eek-A-Mouse with his band - Eek-a-mouse with his band An orange paper flyer with a black graphic print depicting a man leaning back on one leg, looking down at what resembles the silhouette of a Mickey Mouse type character who is point up at the male figure. On the right of the flyer is the following text: ‘Live and direct from Jamaica Eek-a-mouse with his band’ https://www.bcaexhibits.org.uk/the-collection/ceramic-head-of-black-woman monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915131341-SEXQJ3ON3IJ01RHZ847D/Ceramic+head+and+shoulders+of+woman+4.JPG The Collection - Ceramic head and shoulders of a Black woman A ceramic bust of a Black woman with a close cropped afro and bright red lips. The bust is viewed from the left side which shows the pierced ear lobes, the high cheekbones and raised eyebrows which have been wiped off with time. Around her neck is a necklace made up of threaded gold painted leaves. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915130109-6BYJX3Q2IQH6BXDXUQ8K/Ceramic+head+and+shoulders+of+woman+5.JPG The Collection - Ceramic head and shoulders of a Black woman A ceramic bust of a Black woman with a close cropped afro and bright red lips. The bust is viewed from the front which shows her confident expression. Around her neck is a necklace made up of threaded gold painted leaves. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915135367-T0OVWBQWMT2DRFSGIHB1/Ceraminc+head+and+shoulders+of+woman+3.JPG The Collection - Ceramic head and shoulders of a Black woman A ceramic bust of a Black woman with a close cropped afro and bright red lips. The bust is viewed from the top, angled to the left side which shows the conical hair do. https://www.bcaexhibits.org.uk/the-collection/deco-woman monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614349742892-W4CPOIGYV57DSGVNZHVM/deco+woman+1.png The Collection - Glazed and painted wall mount of a woman A shiny bronze coloured wall mount of a woman's head. Her hair is wrapped up, her eyes closed and she bears a stoic expression. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614349742185-RB0I7D4Y76VO03Q0HQDO/deco+woman+2.png The Collection - Glazed and painted wall mount of a woman The back of a plaster wall mount. The label stuck to the object reads: “Art Deco 1930’s” https://www.bcaexhibits.org.uk/the-collection/kings-rifles-pin monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614348895310-UAIH1FQ1WH2F4CP712EQ/KARpin+1.png The Collection - King’s African Rifles and West Indian Rifles pins Two brass pins, one consisting of initials K.A.R. (Kings African Rifles) and another with initials W.I.R. (West Indian Rifles). https://www.bcaexhibits.org.uk/the-collection/nestors-tablet monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614348540012-8KB6RYSBLK9K4FHVWG64/Nestor+tablet.png The Collection - Nestor’s tablet A resin cast of a grave plaque. It is grey in colour and wrapped in clear plastic. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615238603047-QGVK0JDA776WI15YTIQL/Nestor+tablet+cast+2.jpg The Collection - Nestor’s tablet A resin cast of a grave plaque. It is grey in colour and wrapped in clear plastic. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615238607461-AU02GRIW509AOJHJ27IF/Nestor+tablet+cast+3.png The Collection - Nestor’s tablet A resin cast of a grave plaque. It is grey in colour and wrapped in clear plastic. This is a close up view so one can read the following: “Buried here Dec.r 1787. Aged 36. NESTOR, a black, 22 Years a Servant of James Ramsay, by robbers torn from his country and enslaved, he attached himself to his Master, hating idle visiting, he was employed constantly in his work, being himself careful, he suffered not other servants to waste his property." https://www.bcaexhibits.org.uk/the-collection/dark-wood-bust monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915316347-6I734GQDNIPVHOG95YU7/Dar+wood+bust+woman+1.JPG The Collection - Dark wood bust A wooden bust of a feminine figure, who from a slight 3/4 profile. Their hair is braided in a style resembling a pudding bowl, with a round fringe, each braid represented by abstract carvings of braids. The wood is smooth and well oiled. Around their neck is a simple necklace made up of large beads. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915319241-B86FPD01DI006R21XAVL/Dark+wood+bust+woman+2.JPG The Collection - Dark wood bust A wooden bust of a feminine figure, who looks straight ahead. The view is from the left side. Their hair is braided in a style resembling a pudding bowl, with a round fringe, each braid represented by abstract carvings of braids. The wood is smooth and well oiled. Around their neck is a simple necklace made up of large beads. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915322334-1SFCGDG3KEPAPS2TFPHH/Dark+wood+bust+woman+3.JPG The Collection - Dark wood bust A wooden bust of a feminine figure, who looks straight ahead. The view is from the back which highlights the terrace like rows of braids. Their hair is braided in a style resembling a pudding bowl, with a round fringe, each braid represented by abstract carvings of braids. The wood is smooth and well oiled. Around their neck is a simple necklace made up of large beads. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624915322991-2L69V1B9QSARL0AP0B7I/Dark+wood+bust+woman+4.JPG The Collection - Dark wood bust A wooden bust of a feminine figure, who looks straight ahead. Their hair is braided in a style resembling a pudding bowl, with a round fringe, each braid represented by abstract carvings of braids. The wood is smooth and well oiled. Around their neck is a simple necklace made up of large beads. https://www.bcaexhibits.org.uk/the-collection/small-anthropomorphic-brass-figurine monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916118274-CA31BDLNXMCECVD1CTVC/Small+anthropororphic+brass+figurine+1.JPG The Collection - Small anthropomorphic brass figurine A dark brass sculpture, resting against the wrapping paper it was protected by in storage. The figure stands on a tetrahedral base, with their hands on their hips. It has the body of a man and the head of an animal. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1624916117563-LFBW64A722RKY8392K2N/Small+anthropormophic+brass+figurine+2.JPG The Collection - Small anthropomorphic brass figurine A dark brass sculpture, resting against the wrapping paper it was protected by in storage. The figure stands on a tetrahedral base, with their hands on their hips. It has the body of a man and the head of an animal. https://www.bcaexhibits.org.uk/the-collection/small-bronze-statue monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614346974538-B2JJHRJUUEZ12ZL8OO51/benin+statue+1.png The Collection - Small bronze statue in the Benin style, Nigeria A bronze statue lying down on its right side upon the protective wrapping from storage. The figure wears an ornate headdress and around its neck are multiple collars. In its right hand it holds a staff. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614346974552-LT842OO6QCU2SZ5MN4PA/benin+statue+2.png The Collection - Small bronze statue in the Benin style, Nigeria A bronze statue lying down on its back. This shows a close up of the lattice detail of the tunic worn by the figure. https://www.bcaexhibits.org.uk/the-collection/circular-bronze-bell monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614346156003-A2Y6YEK2Y8EP6WN4VXZI/Picture1.png The Collection - Ritual Bell A bell photographed from a high angle. It is made from bronze and has darkened with age. On the bell bottom there are raised markings in groups of three. Around the handle at the top is a label that says 'Ritual bell; Benin City, Nigeria' https://www.bcaexhibits.org.uk/the-collection/category/Bronze monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Benin monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Wood monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Craft monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Africa monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/British+Empire monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Christianity monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Metalworking monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Black+History monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Sculpture monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Education monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/category/Resin monthly 0.5 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https://www.bcaexhibits.org.uk/the-collection/tag/lifestyle monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/lively+up+yourself monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/black+british+history monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/beadwork monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/photograph monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/performance monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/art+deco monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/David+Livingstone monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/josephine+baker monthly 0.5 https://www.bcaexhibits.org.uk/the-collection/tag/Caribbean monthly 0.5 https://www.bcaexhibits.org.uk/fionaquadri daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601462022771-HUW1S068NMQHXN8B95DL/Fiona+Quadri%2C+aged+19%2C+The+Talk.png Fiona Quadari - 2nd Place: The Talk Fiona Quadri, aged 19 My work named 'The Talk' represents the conversations of the Windrush generation that tries to teach their children and grandchildren who they are and where they come from. The conversation is an entanglement of sorrow and pride, their losses and the many hurdles that followed. The question of identity, belonging and rejection is underlined. The events and experiences that the elders carry contrast the pure afro of the child. By teaching the children the past, they try and strengthen and build the younger generation's mindset of knowing who they are and where they belong. ‘We are legal, we are citizens in the UK.’ The colourful rays that form the background are inspired by the British Commonwealth flag. It is the history lesson you do not receive in your history lesson in school. https://www.bcaexhibits.org.uk/leahbevan daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601462418888-X5FC6SYHJ4CBATE7XK8R/Leah+Bevan%2C+aged+20%2C+Mother+Country.jpg Leah Bevan - 3rd Place: Mother Country Leah Bevan, aged 20 This painting represents how the Windrush generation travelled to Britain to help rebuild after the war and how in the 2018 scandal, through wrongful detainment, denial of legal rights and deportation, their British identity was taken from them. The flag repairs are made up from colours of different Caribbean flags to signify these people’s contributions to the country and its culture, and the snatching away of the flag reflects the way they were treated. The flag itself appears battered and worn to represent Britain’s post-war state. https://www.bcaexhibits.org.uk/olivia-dayer daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601462638541-7USILCIH77BCV7RX67YM/Olivia+Dayer%2C+aged+14%2C+Women+of+the+Windrush.jpeg Olivia Dayer - Specially Commended: Women of Windrush, Olivia Dayer, aged 14 My grandad is part of the Windrush. We always talk about it and the boat is always something my grandad remembers the most. I drew women because I think they were important and some of them came to Britain and left their families behind. This must have been really difficult for them. I tried to make it colourful to show it was a celebration that they came to Britain. https://www.bcaexhibits.org.uk/samueladeosun daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601462919220-P8IITY3YTZNBAVCKQO8S/Samuel+Adeosun%2C+aged+18%2C+There+is+Never+a+Time+and+a+Place+for+Oppression.jpg Samuel Adeosun - 3rd Place: There is Never a Time and a Place for Oppression Samuel Adeosun, aged 18 This painting gives an insight into my perspective on the story and events of the arrival of the Windrush migrants and how prevalent its history still is, in the fight for Black people’s rights today. As well as the Windrush arrivals, my work highlights how thousands of Caribbean residents came to support the Windrush generation in a time of need, amalgamating the past and the present. People from all walks of life have come to support the people of the Windrush generation being wrongfully deported from the UK, in the recent Windrush Protests in 2019. Creating this artwork has been an outlet for me – and hopefully it makes others realise too – that at this point in time, especially after the recent fight for racial equality, there should be no more oppression and discrimination. https://www.bcaexhibits.org.uk/maya daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747295171-E5OUG9LW7MFTBE16DAGK/cnv00006.jpeg Maya Campbell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747288414-FDG11PR3TZT7D934WQFW/cnv00007.jpeg Maya Campbell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747303747-AY5F5HY22YW5SV4OT6SI/cnv00016.jpeg Maya Campbell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747284139-EXI9KHWR951D5VR7XX88/cnv00017.jpeg Maya Campbell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747303985-H2Y4ZMVKX9ZDUJW4OET2/cnv00025.jpeg Maya Campbell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601747276669-888CSXUHYP48FXD5633T/cnv00026.jpeg Maya Campbell https://www.bcaexhibits.org.uk/evan daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/judah-martina-attille daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/danielle-brathwaiteshirley daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/libita-sibungu daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/joy-labinjo daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/marcia-michael daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/kevin-morosky daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/dr-glen-yearwood daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/in-memory-of-jon-daniel daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/rhea daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1606124550605-P6ZJGX302YB4LD75IPZ7/sschematest2.jpg Rhea Dillion https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605911400914-7JOJUCXQT0ICZMYRY47M/Rhea+Dillon+%27Dishwater+and+No+Images%27+at+Peak+London+low.jpg Rhea Dillion - Rhea Dillon Rhea Dillon works in a wide variety of media, from painting, video and poetry to sculpture, installation and olfaction. Exploring themes of class, race and gender, her work examines and abstracts the ‘rules of representation’ as a device to undermine contemporary Western culture. Continually seeking to question is an important part of Dillon’s practice, specifically questioning what constitutes an ontology of Blackness versus the lived ontic in her conceptually abstract work. She coined the phrase ‘humane afrofuturism’ as a practice of creating equality-led perspectives on how we visualise Black bodies. Her work has been exhibited at 198 Gallery, London; Somerset House, London; The British Film Institute, London; Mimosa House, London; Blank 100, London; Red Hook Labs, New York; Aperture Gallery, New York; Red Bull Film Festival, Los Angeles; Sanam Archive, Accra Ghana. Having been named as part of Vogue’s New Creatives to Watch 2020 and quoted as The New YBA Class of 2019 for the Evening Standard, there is so much more to see from this artist. She is also an Associate Lecturer at Central Saint Martins, London. [Image: Rhea Dillon, 'Dishwater and No Images’ at Peak London] @rheadillon Rhea has been researching AMS, a collection of manuscripts including material on Samuel Coleridge Taylor. For more information about accessing Black Cultural Archives collections, please visit blackculturalarchives.org/collections https://www.bcaexhibits.org.uk/shamica-ruddock daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1606490439527-JF0OL5LOS5PQ9C00SY2Z/shambcaweb.jpg Shamica Ruddock [Click for enlarged version and footnotes] https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605880700477-GWYHI60US3B77X1NCTJD/Shamica+Ruddock_It+Is+What+It+Is.jpg Shamica Ruddock - Shamica Ruddock Shamica Ruddock is an artist and arts educator working predominantly across text, sound and moving image. With a background in cultural heritage, specifically archive and community engagement, much of this experience has shaped their artistic practice. Shamica is guided by an interest in dynamics of cultural hybridity and new subjectivities, in particular how they operate as modes of production, and can inform and alter methods of enquiry. Current research topics include Black technopoetics, sonic fictions, puppetry and hauntology. Shamica is particularly interested in the ways in which the Black diaspora is engaged and explored through sound, where sound becomes a form of narrativising with its own unified system of signifiers. [Image: Shamica Ruddock, It Is What It Is] @JacquiAllTrades https://www.bcaexhibits.org.uk/zinzi-minott daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539546316-3XO943D309J5K6XK63MK/IMG+5.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615538561938-L285P9MHTYXER7YO2VUT/IMG+6+Black+Dance+Book.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539270091-YJ3J9QW7Z4ZPYUDGQDZQ/IMG+8+Excerpt+of+Talk+between+Zinzi+%2B+Greta.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615538110494-6AJFCUN71IW5T1U8P02G/IMG+1+Black+Women+in+Dance.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615538501028-3JSSCGKZYKPAYTDOIFK9/IMG+3.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615538518914-ZU9MBI9AOCD6WHAAQRNU/IMG+4.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539411371-QID9149AV5P7YVR2ZFJ8/IMG+12.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539296146-CRGH8PIRK7O39YOEPVKS/IMG+9+Black+Dance+Britain.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615538485345-7BSVM4IU9ODQW3IV55P6/IMG+2.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605912153151-ASK2PTFF5OUDYA54SDXP/IS+IT+IN+IT%2C+Zinzi+Minott+at+SHS%2C+Photo+credit+%C2%A9+Anne+Tetzlaff.jpg Zinzi Minott - Zinzi Minott Zinzi Minott’s work focuses on the relationship between dance, bodies and politics. As a dancer, she seeks to complicate the boundaries of dance and the place of Black women’s bodies within the form. Her work explores how dance is perceived through the prisms of race, queer culture, gender and class. Zinzi is interested in the space between dance and other art forms, and though her practice is driven through dance, the outcomes range from performance and live art to sound, film and video, dances and object-based work. [Image credit: Ann Tetzlaff] @zinziminott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539259413-C4UKFW7514VFCQ8SJAKW/IMG+7+Greta+Mendez.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539370446-6SIB33B2SSV509XX0OOO/IMG+11.jpeg Zinzi Minott https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1615539338862-7B4NWV7QA1LGHUSKHEF1/IMG+10+Phoenix+Dance.jpeg Zinzi Minott https://www.bcaexhibits.org.uk/anisa-nuhali daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1606305409453-VDX300L2QT50H3PZKOTJ/transitions.jpg Anisa Nuh-Ali - Anisa Nuh-Ali Anisa Nuh-Ali is a Sheffield based artist who primarily works within the fields of installations, creating sculptural readymades. In her practice she interrogates and explores the intersections of her race, religion and gender. She is interested in themes of Blackness, Black liberation and post-colonialism. Examining and commenting on Black athleticism, culture, aesthetics and politics. Nuh-Ali centres Black narratives as the focal point in her practice and looks to oral histories and community. She utilises archives as a tool for re-imagining history. Making heavy use of the readymade to explore culture and rituals - what makes certain objects synonymous with “Blackness” and looking at the connections and connotations these objects draw on her identity. [Image: Anisa Nuh-Ali, Transitions, 2016] @anisanuhlinga https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605901719867-8ZPW2MZDZ24GOXMI7IFZ/D.PNG Anisa Nuh-Ali https://www.bcaexhibits.org.uk/ufuoma-essi daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899852907-KW9SAOVD2F4E23AGEIIA/Screenshot+2020-11-12+at+18.02.40.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899615537-WNRC522A3UAWD1N8RQ1M/Screenshot+2020-11-12+at+16.56.28.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899687454-OWLLZWOWSGCM8WQMCPZK/Screenshot+2020-11-12+at+16.56.42.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899488902-R5XEC1UWK2N4DIZPV5YL/Screenshot+2020-11-12+at+16.56.02.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899822431-W2CW8AS6TRVFGIHADH9H/Screenshot+2020-11-12+at+18.02.09.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899754630-3RTXTKCDRIU2HHZRIEVE/Screenshot+2020-11-12+at+16.56.57.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899349570-SOPXX8Y70F6RXIREHYZK/Screenshot+2020-11-11+at+21.03.26.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899908538-31JRNM7TFRSSAFV4GHTH/Screenshot+2020-11-12+at+18.04.02.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899721615-K9QBROF4OMWXL3241V9F/Screenshot+2020-11-12+at+16.56.49.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899784127-T3JGF03DFS4O6KBC1G9A/Screenshot+2020-11-12+at+16.57.04.png Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605881274420-4OPUDWAU1Q4BUY40C7DK/Ufuoma+Essi%2C+still+from+All+That+You+Can%E2%80%99t+Leave+Behind+%282019%29+Still.png Ufuoma Essi - Ufuoma Essi Ufuoma Essi Is a video artist and filmmaker from Lewisham, South East London. She works predominantly with film and moving image as well as photography and sound. Her work revolves around Black feminist epistemology and the configuration of displaced histories.The archive forms an essential medium for her as an artist and it’s through explorations with the archive that she aims to interrogate and disrupt the silences and gaps of the historical narrative. By using the archive as a process of unlearning and discovery she seeks to re-centre the marginalised histories of the Black Atlantic and specific histories of Black women. Drawing from a range of influences including black popular culture, films, music, historical texts and black feminist theory from writers such as Claudia Jones to Daphne A. Brooks. Essi’s work also seeks to examine the historical and contemporary links between the Black Atlantic and explores intersectional themes of race, gender, class and sexuality. [Image: Ufuoma Essi, still from ‘All That You Can’t Leave Behind, 2019] @ufuoma.essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899323343-XXB13LQB301TE1R6359B/R1-05170-0001.JPG Ufuoma Essi https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605899559876-6Q9F0490N1O8W94LZRG0/Screenshot+2020-11-12+at+16.56.18.png Ufuoma Essi https://www.bcaexhibits.org.uk/felix-taylor daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605879746746-75XT39AS7MUD1Q1W7PLI/Felix+Taylor+%281%29.jpg Felix Taylor - Felix Taylor Felix Taylor is South London based artist working with different audio media to create soundscapes and collages, for radio, installation and film. Felix's work often explores themes of history, comfort and beauty through speech, environmental recordings, sound design and music. As of this year he has begun to explore audio based programming and procedurally generated audio. Previous work features include; soundscapes for NTS and 1020 radio, exhibition soundtracks at We The Curious museum (Bristol), workshops led at The Arnolfini (Bristol) and performances at The Jewish Museum (London). [Image courtesy of Felix Taylor] https://www.bcaexhibits.org.uk/samramayanja daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605893809907-J0DXIINMHNM0LZGZ3N4Z/2.+all+the+blue-black+shadows+no+snow+but+transference.jpg Samra Mayanja https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605895059314-QZL3Y8SGWA192QT6WBG9/3+back.+and+deliverance_bodies+without+heads+made+of+smoke+%282%29.jpg Samra Mayanja https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605880184894-LNL3W6RZ7JY8ER6REQAT/still+from+scripted+for+a+wayward+narrator%2C+samra+mayanja%2C+2020.png Samra Mayanja - Samra Mayanja Samra Mayanja is an artist with poetics at the centre of her processes. Mayanja predominantly make performances and films as well as writing. Her films are an effort to acknowledge, collect and archive accessible, decentralised and dislocated images of Black people and their environments – in an effort to commune disparate voices. Mayanja’s performance practise explores how to generate collectively around and beyond what’s unconceived, lost, discarded, destroyed or arrives in tatters. The artist regularly holds space for contemplation and the creation of experimental reflexive processes with/for others – sometimes through movement work and other times through the creation of sound. [Image: Samra Mayanja, still from ‘scripted for a wayward narrator’ 2020] @samramayanja https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605893529793-KG26CQNAVZ384UYYNIZA/1.+bone+deep+and+echoing+of+when.jpg Samra Mayanja https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605894934475-4II1LCBHHV4VFE28GJFN/3+-+front.+and+deliverance_bodies+without+heads+made+of+smoke+%281%29.jpg Samra Mayanja https://www.bcaexhibits.org.uk/rabz daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605906930659-101EBXEZ6YJ4XLWP8DSK/Rabz+Portrait.jpg Rabz Lansiquot - Rabz Lansiquot I’m Rabz Lansiquot, a Brixton born and raised filmmaker, programmer, curator, and DJ, and one half of Languid Hands. As a film programmer, I’m interested in the development of a practice that goes beyond representation and towards a radical liberatory approach to Black filmmaking so I focus mainly on programming and writing about experimental, political works by Black filmmakers. My own filmmaking practice utilises archive footage in a number of ways, both to illustrate the ideas I’m exploring, and to reflect on the politics of archives. I’ve made work about my families history of migration, the politics of the display of images of Black death and anti-black violence, Brixton’s own @198_cal (a gallery with over 30 years history exhibiting the work of Black and of colour artists) and, with Languid Hands, the (im)possibility of Black Testimony. The clip here is my favourite section of an old film I made while studying in collaboration with peers about the gentrification of Brixton. It features rapper, friend, play-uncle and unofficial Mayor of Brixton Ty, who we are still collectively grieving following his untimely passing this year, talking so beautifully about growing up in the area. I decided to illustrate his interview with footage of the area by Sam The Wheels, filmmaker, archivist and bike repair man, who has been documenting the Black community of Brixton since the 1960’s. Photo by Tarona Leonara, courtesy of Stroom Den Haag. https://www.bcaexhibits.org.uk/imanirobinson daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605908364779-AQBIXYKJKRKI3ADYFPGR/Imani+Portrait.jpg Imani Robinson - Imani Robinson I’m Imani Robinson, an interdisciplinary writer and artist, editor, curator and abolitionist, and the other half of Languid Hands. I’ve presented work and facilitated projects internationally and my practice combines performance, oration, collaboration, poetry and critical theory, exploring themes of Black geographies, the afterlives of transatlantic slavery, abolition, and radical resistance. I’ve written for various magazines and art publications, and I’m also acting editor of Talking Drugs, an online platform dedicated to providing critical information on drug policy and harm reduction. This year, I initiated @blackabolitionist - a UK based international abolitionist reading group for Black people interested in abolition and Black study, affiliated with @abolitionistfutures. I often draw on archives in my work; I think about books and radical theory as archives and draw on them in my writing for performance often. I mostly write to read aloud and am extremely interested in different kinds of documentation of radical orators. I think political moments and geographies have a kind of affect and sonic texture that interests me deeply. You can tell the place and time of a particular speech, which is to say a particular urgency or moment, a cultural context, simply by listening. Can you hear it? I think sometimes about what sounds or textures are lost from the archive or don’t appear, and I try to fill them in with my own voice, weaving together fragments of a black aurality, like an embodied form of collaboration through words and other modes of assertion and presence. In a conversation the other day we were thinking about what blackness sounds like. Can you hear it? Photo by Tarona Leonara, courtesy of Stroom Den Haag. Video: excerpt from Languid Hands 2019 film Towards a Black Testimony: Prayer/Protest/Peace, a video essay / experimental documentary / annotated performance exploring the im/possibility of black testimony. Performed by me, illustrated by Rabz, sound mix by Felix Taylor. https://www.bcaexhibits.org.uk/living daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610836157536-GH19LNJHDSW42UJSA7IH/unnecessary+scar.jpg Living with Sickle Cell A scar from an unnecessary sickle cell operation on a person with sickle cell disease. Poor medical understanding of sickle cell disease in the 1970s and 1980s could lead to serious mistakes and lapses in care. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610836886050-EIETOVGIO9DVUU4E8CEB/Families+p13.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607864917342-OV8IOUF6OVHDC1AW27FY/Carole+Patching+and+her+daughter.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607864900182-OW24N8565KQAQ0OUYF79/Carole+and+Richard+Patching.jpg Living with Sickle Cell Carol and Richard patching when they were "courting". It was the first time she came down south to meet his family. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607864190986-0ZIJGZI9O05ZXCJY18YQ/Basil+Bramble+age+10.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610990896458-BCPYWP2I12DO2XM4KR2H/Newham+cover.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607861917836-0299A8U9HBUH0LLQ7938/Guy_s+hospital.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611334473333-UT55ODULD9EGMQ9C8XW8/Ajay+Dattani.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607865528887-1SCTWWHA1SDHVOPNMZSM/June+Okochi.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611352648324-EM7P42SI3PDV07U88U9K/Jenica.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610836925282-XSOYUNHQ8KBKG2Z9HMYY/Families+cover.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607861800804-IXYWKMT075QAX1QHRW2E/Herma+Falconer.jpg Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610836989674-YCBXJRPNGJWEZ0JF1KE4/Families+p68.jpg Living with Sickle Cell https://www.bcaexhibits.org.uk/challenging daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610990450862-KLIQOF2IVSSP9KL6MQJA/Elizabeth+Anionwu+and+Floella+Benjamin.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610988899943-9I0P5SMB2TOSZO3NXULS/garth+Crook+picture.png Challenging Footballers Garth Crooks and Chris Hughton with a young woman with sickle cell disease at Central Middlesex Hospital in 1985. Copyright Garth Crooks. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611337298993-0OQ77ZER9EPZ6X5CL8OT/Neville+Clare+aged+24.JPG Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611344674300-XBHARKWKP12RQ6QF8W98/Poster%2BSimon%2BDyson.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607940771143-T3RXV40N4B6XTRAXJMAU/Lola+Oni.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610991352556-P54M8G7R4WFK2ZDAU0FQ/RC_RF_17_02_C_1.tif+Steven+Bogle+1.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610988970216-OFKP3XDDYC09Z14QDI0P/Formation-of-the-Sickle-Cell-Society-1979-.jpg Challenging Some founding members of the Sickle Cell Society, pictured in 1979 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611344152721-KE5D1LVFAQCK5KI75HLI/colour+newsletter+bogle.jpeg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611343495644-6C8HXG5S586UKKJLBZAF/Help%2Bcampaign.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610991865095-5NFZ422YKTWJ002RNDLY/staunch+magazine.tif+1979+Staunch+magazine+entitled++%281%29.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610990729514-67I1TJHYHTCLCKVE3RN6/OSCAR.png Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607943684579-I4B9QCWOU2LGUV59KCRV/Lorraine+Audley+grandomother.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611337375258-R61M4YDJBN63NU5EIIHR/Sickle+Cell+Society+volunteers.jpg Challenging Volunteers at work in the Sickle Cell Society, c.1983 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607943474393-HCDK3VZMA6FEXX4QBYNF/RC_RF_14_05_F_CCHC.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1610990463248-96T5BOAV6S7SKEY4NDTK/Lenny+Henry+and+Sherlene+Rudder.jpg Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607943231935-54MNZEW2NXM7OP6AQL5V/Black+Health.png Challenging https://www.bcaexhibits.org.uk/expressing daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611347552738-PDWKP2NJ2L5509HO6CMG/You+and+I%2C+Woman.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607939414340-1SCLNADW4F2W7K8RHYNG/Sickle+Cell+aneamia+-who+cares.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607938827218-2Q7W7TUEHBWMKQPTV2ZC/LAURELCELLS+colour+%28003%29.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607939195353-16RPEE7NO7218365ECYZ/Portrait+of+Pain+3.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607939116068-FK1HRZNSJC9K2AJLTGTA/image-asset.jpeg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611357257501-114Z1C4RGS6DU0RQVTC1/English_20logo_20-_20Black_20%28JPEG%29.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607938999322-5JU4N03UJ5KH2MF5ZQLB/Laurel+levels+%28005%29.jpg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1607939142283-M9S0CJM1XSRXWSKXEVC3/image-asset.jpeg Expressing https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611347609856-IFNVA6JPFVCMY4DTP6AZ/You+and+I%2C+Man+.jpg Expressing https://www.bcaexhibits.org.uk/objects-revealed-contact-us daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/whatnext daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617103059828-WG55NG975ICM7IBD28KZ/processed_IMG_20200607_170951.jpg Windrush Voices Copyright BCA https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617101203384-P0MSPJ2O1YNNFXKM11VH/processed_Black+People+Are+Humans+Too.jpg Windrush Voices Copyright BCA/Connor Newman https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617100789084-LIT0RZZIKWS3P4MQ05QJ/processed_Trafalgar.jpg Windrush Voices Copyright BCA/Connor Newman https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617103108484-QYF70QG2KFK6AA9V0FRX/tilda-foletta-jSjH0PRAGdE-unsplash.jpg Windrush Voices https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617102610194-OUKWP8MT1QD2WPUK6NDJ/processed_The+System+is+Against+Black+People.jpg Windrush Voices Copyright BCA/Connor Newman https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617102982933-GUIJ7QKTDM2GUQBKWG8M/Screenshot_20210330-120145_Gallery.jpg Windrush Voices Copyright BCA/ Ellen Wilkinson https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617104647647-VFK2Y48QF7140HXI2F1Y/processed_national-cancer-institute-t6QdT-_Z6Eo.jpg Windrush Voices https://www.bcaexhibits.org.uk/brixtondefence/background daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617706466988-V42ZQJ2G5JCIOFBVRFUV/GARRISON_2_2_17.jpg Background - Background The Brixton uprising took place on the weekend of the 10th-12th April 1981 and saw clashes between the predominantly Black youth of Brixton and the Metropolitan police force. By the end of the disturbances, 82 people had been arrested, at least 45 members of the public injured, 61 private vehicles and 56 police vehicles were damaged or destroyed and 145 premises damaged; 28 of them by fire. Further uprisings took place throughout the country in the months after April 1981. The uprising in Brixton came after years of tensions between Black youths and the police. Although there has been a Black presence in Britain since Roman times, the large numbers of Black migrants at the end of the Second World War caused an overwhelming reaction of hostility, alienation, and the ‘othering’ of the Black presence in Britain after the war. Strict policing, or over-policing, of urban areas and the use of police powers such as stop and search, which was also known as the ‘Sus Law’, became a main point of contention. These powers were granted to the police under the 1824 Vagrancy Act and gave them power to stop and search citizens who were considered to be ‘loitering with intent’ without any evidence. Stop and search powers disproportionately targeted young Black men who were being harassed and victimised by the police. The police used the tactic of high-profile, visible policing in urban areas to try and stem the threat of street crime, such as mugging, which was stereotyped as being perpetrated by young Black men. This tactic was most notably deployed in Brixton under ‘Operation Swamp’. In addition, the police showed little regard for the safety of the Black and Asian communities who were facing daily harassment and abuse at the hands of right-wing extremists and political parties, such as the National Front, contributing to the racial tension between Black and white communities. [Image: GARRISON/2/2/17: Images and reflections, section four: 'SUS' the Black child and the law] https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617953250061-GXFKDLKGCUSJ14TZO3MJ/0001.jpg Background - Conditions The worsening employment and housing conditions also contributed to the tension. Between 1979 and 1981 unemployment had almost doubled, taking the number of unemployed to nearly 3 million. By 1980, the country was well into another recession. In Brixton, at the time of the 1981 uprisings there were over 917,000 registered jobless under the age of 25 of whom 60,000 were under eighteen. Although unemployment affected many, it was the Black community who suffered most. While the 1965, 1968 and 1976 Race Relations Acts were watershed mandates to terminate covert and overt discriminatory practices in public and private spaces, years of racism and the ‘colour bar’ had placed many Black youths at the bottom of the educational attainment and employability. There had also been a significant cut in public spending, particularly at Local Government level. In areas such as Brixton and Tottenham, the housing stock was sub-standard and many struggled to find housing in the private rental sector due to direct and indirect racism. [Image: LIBFRONT/2: Grass Roots, Black Community News] https://www.bcaexhibits.org.uk/brixtondefence/initiation daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617707607161-958MDZHBRQS8JCCLFIT7/image-xwGeSPLPH90iUA-large+%282%29.jpg Initiation - Initiation The Brixton Defence Campaign mainly consisted of two forces: the Brixton Black Women's Group (BBWG) and Black People Against State Harassment (BASH). In its own press statement, the campaign group states that it formed to 'co-ordinate the defence of those arrested during the Brixton uprising and to support those who continue to be victimised'. The Brixton Defence Campaign also worked alongside the Brixton Legal Defence Group. The campaign had three main aims: to fight for the full legal representation of those arrested during the uprising and advocate for the dropping of all charges, asserting that the uprising was a legitimate protest against racist policing; to achieve an effective boycott of the Scarman Inquiry and to continue to mobilise the community against police brutality and State oppression. The Brixton Defence Campaign was made up of a broad cross section of groups and individuals to organise for the defence of the community both immediately after the uprising and in the future. The campaign was described by member Jan Mckenley as an ‘uneasy coalition’ between numerous political groups working for Black liberation at that time. The Brixton Defence Campaign faced internal struggles regarding the differing methods of achieving their goals, with the Brixton's Black Women Group recalling hostility toward them from within the campaign to have their voices heard. [Image GUTZMORE/1/2/2: One typescript letter from Suzanne Scafe of the Brixton Defence Campaign giving details of the meeting held at the Abeng Centre on the 7th June [1981]. The meeting included speakers from community groups in Brixton, Bristol, New Cross and Coventry. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617709081227-M6KYSWOD39D1YRXY114Y/image-5AGzHOvqS0gEow-large+%281%29.jpg Initiation - Activity Maintaining relationships with community was central to the Brixton Defence Campaign. The group organised well attended public meetings, circulating 20,000 leaflets in and around Brixton for their 7th of June 1981 meeting at the Abeng Centre. They held bi-weekly meetings, also at the Abeng Centre, which were open to the public. At these meetings, the Brixton Defence Campaign recruited volunteers to visit defendant’s homes and observe court appearances, wanting defendants to feel supported both from the onset and throughout their trials. To sustain their work, the campaign held fundraising events and accepted public donations. Campaign bulletins state that the organisation set a target of £10,000 for itself, ‘to pay fines and legal costs of all defendants both Black and white’, which was achieved. Publishing leaflets and bulletins were methods the campaign utilised to disseminate essential communication about on-going court cases. From the outset, the Brixton Defence Campaign distrusted the British press (from local to national) and their 'campaign of lies, slander and distortions’; believing them to be working in collaboration with the police and courts in undermining the work of Brixton's Black communities. [IMAGE- MCKENLEY/3/1: One small poster on orange paper, "Attend PUBLIC MEETING OF: BRIXTON DEFENCE CAMPAIGN", to be held at the Abeng Centre on 7 June 1981. Poster calls for support of the Brixton uprising] https://www.bcaexhibits.org.uk/brixtondefence/defence daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617952627702-LDFVKVE45N08A8S2SJCC/image-uAGOhsGvkcrduQ-large.jpg Activities - Defence Providing legal assistance to those arrested was a priority of the Brixton Defence Campaign in the aftermath of the Brixton uprising. Many of the defendants had been charged with severe crimes; some were deemed a 'threat to national security' and faced years in prison if convicted, the Home Office recommended others for deportation. The campaign aimed to provide access to suitable legal representation for all defendants. The Brixton Defence Campaign assembled a small group of people to coordinate and handle all matters concerning the court cases, including new arrests and new cases. Whilst the Brixton Defence Campaign, alongside other organisations, provided support to many of the defendants that they knew of, they were also concerned about outreaching to defendants that had ‘little help or no information…that may need legal help.’ As the Brixton Defence Campaign were ill-equipped to handle the sheer number of legal cases after the uprising, they worked with other organisations, including the Brixton Legal Defence Group (instructing all defence lawyers to ‘advise defendants to plead Not Guilty and to elect for trial in the Crown Courts’). The group was aware of its limitations in providing legal aid to defendants' cases tried in the Magistrates Courts and asked the Lambeth Law Centre ‘to act for defendants who [had] been refused legal aid’. The Brixton Defence Campaign established a Defence Fund to pay for a defendants legal costs and also offered support to people whose homes were raided by the police subsequent to the uprising. [Image-GUTZMORE/1/7/3: One A4 poster by the Brixton Defence Campaign group calling for support to 'fill the courts' at the Inner London Crown Courts] https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1618041383614-8FYXRPP2IY5JXRXA2FJW/image-PgEQ_qlGUpXWUQ-large.jpg Activities - Support To help ensure that defendants were not abused in the courts and were given a fair trial, the Brixton Defence Campaign maintained constant contact with defendants throughout the legal process. They also supported the Brixton Legal Defence Group by organising for large community attendance in the courts to give moral support to those standing trial. The Brixton Defence Campaign publicised numerous court case dates, printing and circulating flyers to encourage the public to attend. The campaign also raised awareness for cases outside of London, including that of the ‘Bradford 12’ at Leeds Crown Court, who were tried (and eventually acquitted) on conspiracy charges as a result of defending their community from racist attack. The Brixton Defence Campaign saw the publicising of such cases to be an important act of solidarity, stating: ‘We must make the links between our experiences in Brixton and what is happening to the Black communities in the courts elsewhere. The full force of the law and the state machinery is being brought to bear against our people, particularly our youths, in the most oppressive way yet seen in this country. We must be vigilant and support the campaigns around these cases that are going on throughout the country.’ [Image-GUTZMORE/1/6/1: Brixton Defence Campaign bulletin No.3] https://www.bcaexhibits.org.uk/brixtondefence/scarman-inquiry daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617874754266-FEQ4QLVNE623VM817NBC/image-YgEuRkHySG5N3A-large+%281%29.jpg Scarman Report - The Scarman Inquiry After the April uprising in Brixton the Home Secretary William Whitelaw appointed Lord Leslie Scarman to ‘inquire urgently into the serious disorder in Brixton on 10-12 April 1981 and to report, with the power to make recommendations'. The Brixton Defence Campaign called for a boycott of the Scarman Inquiry as it argued that evidence given during the course of the inquiry would ‘only further incriminate defendants’ and that any resulting recommendations of the inquiry ‘will further oppress the Black communities of this country’. Crucially for the Brixton Defence Campaign, Lord Scarman inferred immunity would not be granted to people who were mentioned during the course of another person giving evidence to the inquiry. This would therefore ‘prejudice the legal position, and therefore endanger the liberty of all defendants yet to be tried’. The Brixton Defence Campaign were also concerned that Lord Scarman would not be able to guarantee participant anonymity. This fear was confirmed when details regarding Black youths and persons who gave evidence were later leaked to the press. [Image- GUTZMORE/1/7/1: One A4 poster on yellow paper, "Attend PUBLIC MEETING OF: BRIXTON DEFENCE CAMPAIGN", to be held at the Abeng Centre on 20 December 1981. Poster calls for a rejection of the Scarman report, and support for the defendants facing trial] https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/57859bc7-489e-488e-a7de-d5326ccc242a/image-EgH6uV5qlYRrEA-large.jpg Scarman Report - Boycott The Brixton Defence Campaign asserted that the political history of Lord Scarman could not be ignored: most notably that his inquiry into the Grunwick dispute (1976-78), the Red Lion Square disorder of 1974 and the violence and disturbances in Northern Ireland (1969), did not lead to ‘radical solutions’. Instead the campaign argued, his work had resulted in ‘more repressive action on the part of the State.’ The Brixton Defence Campaign believed the inquiry was an ‘empty opportunity’ for the Black community to testify about the oppression and harassment they were facing in Brixton, considering what they believed was a wealth of evidence already available to support this, including the ‘Final Report of the Working Party into Community Police Relations in Lambeth’ of 1981, which they felt had not been responded to. The campaign stated ‘This report is more substantial than anything Scarman is likely to come up with. Black people in the Borough were actively involved in collecting and giving evidence for this report. It adequately describes the relationship between black people and the police.’ Despite the Brixton Defence Campaign’s efforts to dissuade participation, other Black organisations such as the Melting Pot Foundation, Brixton Neighbourhood Association, and Brixton Domino Working Men’s Social Club supported the inquiry. The campaign classified these groups as ‘persistently working against the interests of the Black community.’ In the aftermath of the uprising, these opposing views underline the tensions and differing opinions within Black communities regarding Lord Scarman’s investigation. [Image- MCKENLEY/3/1: The Brixton Defence Campaign says - Boycott The Scarman Enquiry"] https://www.bcaexhibits.org.uk/brixtondefence/impact daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617957012290-Y5XZAIUDB10OJG6AYD2S/BDCB_2.jpg Impact - Impact The efforts of the Brixton Defence Campaign, the Brixton Legal Defence Group and other legal representative groups helped to undermine and expose State attempts to incriminate and imprison Black youths. The Brixton Defence Campaign stated that many of the charges against Black youths were ‘trumped-up...to disguise the fact that while the uprising was taking place, the police were in no position to make arrests, or to 'police’, and had these cases thrown out. The Brixton Defence Campaign’s intervention into the State criminalisation of Black youths was essential. Though unsuccessful in having all defendants acquitted, the campaign, alongside other organisations, successfully argued for a reduction in jail sentencing for some of the defendants. They also managed to stop deportation of some defendants in the aftermath of the uprising. Through independent investigation, the Brixton Defence Campaign also discovered that published figures by the Metropolitan Police grossly underrepresented the number of people who were stopped and searched in its ‘Swamp 81’ operation four days before the April Brixton unrests. The campaign found that over 2,000 people were stopped and searched (contrary to the police figure of 943) before the April uprising and that 95 per cent of those stopped in Lambeth ‘were absolutely innocent people.’ The Brixton Defence Campaign also found that a third of those arrested were under seventeen years of age, signifying that the Metropolitan Police force were fixated on criminalising Black youth. The Brixton Defence Campaign concluded that ‘Swamp 81’ ‘was a racist operation [because] most of the people stopped were Black.’ [Image-MCKENLEY/3/1: 'Brixton Defence Campaign Bulletin No.4] https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1617711792652-YA5NCU89ILRZM2BJ3X3G/image-GQEi4Qa5P3n30w-large.jpg Impact Through independent investigative research, the Brixton Defence Campaign underscored how race, racism, and histories of colonialism and imperialism dictated the actions of the courts, police, State institutions and press: resulting in the criminalisation and imprisonment of Black youths after the Brixton uprising. The campaign believed the Scarman Inquiry did more harm than good, and with help of the Brixton Defence Campaign many Black people rejected it. Since the publishing of the Scarman Report in 1981, Black communities in Britain have remained speculative of State-funded and controlled enquiries into significant matters impacting them and their communities. In April 1982, the Brixton Defence Campaign organised its first National Conference on the anniversary of the April 1981 uprising. In 1983, it hosted its second National Conference at the Abeng Centre to commemorate and highlight the significance of the 1981 Brixton uprisings. The 1983 conference primarily focused on policing and the contentious Police and Criminal Evidence Bill, which became law in 1984: with subsequent mandates, the bill extended police powers and reinforced 'riot' legislation. By the mid-1980s, the Brixton Defence Campaign disbanded, and many of its members continued doing activism work in other organisations to combat racism across the country. Recent anti-racist organisations, such as the Black Lives Matter and Black-British grassroots movements, can learn from the Brixton Defence Campaign regarding the importance of coalition building, staying power and conducting independent research to support their cause. Current organisations can also draw on Britain’s broader histories of resistance and coalition movements in the twentieth century, of which the Brixton Defence Campaign is a part, to trace the longer threads of the ‘hostile environment’ before the 2018 ‘Windrush Scandal’, providing opportunity for solidarity amongst the least unexpected groups. This introduction to the work of the Brixton Defence Campaign reminds us that whatever we do, ‘Unity is Strength’. [Image- GUTZMORE/1/7/17: One A5 booklet entitled "2nd anniversary of the Brixton uprising". Details information for a national conference held at the Abeng centre on 9 April 1983. Inside of the booklet details the programme for the event. Event organised by the Brixton Defence Campaign] https://www.bcaexhibits.org.uk/brixtondefence/further-information daily 0.75 2023-08-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1618045454920-ESZCEP499PPINAJQ9ZZE/5396130877372441311.jpeg Further Information Further information This exhibit includes adapted material from published bulletins by The Brixton Defence Campaign [MCKENLEY/3/1] . The exhibition has been written by our researcher-in-residence Virgillo Hunter and is intended to offer an introduction to the work of the Campaign. For more information on accessing Black Cultural Archives collections, please visit blackculturalarchives.org/collections Virgillo Hunter is a History Doctoral Candidate of Modern British History at the University of East Anglia (UEA) with interests in British-Caribbean families, oral history and Caribbean migratory cultures in the Twentieth-century. He is currently writing his dissertation on post-war British-Caribbean families in England between 1948 and 1998 and is one of UEA’s Decolonising Humanities interns for 2021. He also volunteers at the George Padmore Institute--Finsbury Park, London. https://www.bcaexhibits.org.uk/before-them-we-1 daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1627981472835-NGFR75O7GHW4MJ1ZUVYZ/Image+1.jpg Before Them, We - Before Them, We Before Them, We is a multidisciplinary project by artist and cultural producer, Ruth Sutoyé. It explores the lives primarily of grandparents & intergenerational relationships of African descent in the UK, and how we archive and preserve oral histories. The exhibition consists of portraits and oral history interviews (and at the latter stage of the run, a short film). The interviews will include stories of migration and more, emphasising the importance of preserving narratives of diasporic communities. Before Them, We is curated by Natalie Fiawoo and produced by producer/artist, Ruth Sutoyé, and producer/writer, Tobi Kyeremateng. — Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 12 August 2021 – 18 September 2021 Times: Open Thursdays - Saturdays, 11:30am-5:00pm Entry Fee: £3/Concessions Join the conversation: #BeforeThemWe https://www.bcaexhibits.org.uk/rudipatterson daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/dtalivemelba daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/queenmothermoore daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/oral-history-clips daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/mothers-in-the-forefront daily 0.75 2023-08-16 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/91cc7a7c-1383-436c-a00c-3628bbb0f2b3/Undaunted+Project+Visual+-+Banner+-+Beige.png https://www.bcaexhibits.org.uk/mothers-in-the-forefront/1 daily 0.75 2023-08-16 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https://www.bcaexhibits.org.uk/oral-history-clips-1-4 daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/oral-history-clips-1-5 daily 0.75 2023-08-16 https://www.bcaexhibits.org.uk/oral-history-clips-1-7xdg4 daily 0.75 2023-08-15 https://www.bcaexhibits.org.uk/exhibits daily 1.0 2024-10-31 https://www.bcaexhibits.org.uk/exhibits/brilliant-black-british-history monthly 0.5 2023-10-18 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/93368f95-3b9f-4bdd-937c-ed0cb8a4f45d/Add+a+subheading+%283%29.png https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/856bb068-36a2-4c77-bfc9-3a82c5b5be67/Untitled+design+%2824%29.png https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/d81e9e8f-4774-4387-91e8-8c31fd840e78/BBBH_1.jpg https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1694010670553-EK8Z6TH3Z80ILDR56CT2/bbbh.jpg https://www.bcaexhibits.org.uk/exhibits/windrush-waves monthly 0.5 2022-07-07 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/fc661d45-3c3e-4f1b-b542-8842f72795d8/Windrush+Waves+logo.png Exhibits - Windrush Waves - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.bcaexhibits.org.uk/exhibits/brixtondefence monthly 0.5 2025-11-11 https://www.bcaexhibits.org.uk/exhibits/objects-revealed monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1614731287156-NBNMBIVMBCGNZJP02HW9/sandra%2Bshakespeare.jpg Exhibits - Objects revealed https://www.bcaexhibits.org.uk/exhibits/breakingbarriers monthly 0.5 2022-03-30 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601057234490-X956MDG4I1QKJ9HL810W/AF6A2881+Joy.JPG Exhibits - Stories of Black Leadership II: Breaking Barriers https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601052608868-7O2Y4OXZMRP43F3RA9YT/Doreen+Interior+JG_419_1+FINAL+FLAT.jpg Exhibits - Stories of Black Leadership II: Breaking Barriers Baroness Doreen Lawrence https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601052608807-A86UC63DDI3N4IQJIJHP/Linda+Interior+JG_1666_7+final+flat.jpg Exhibits - Stories of Black Leadership II: Breaking Barriers Dame Linda Dobbs https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601052590816-PF8A9O0H1ICQFPI8N9TY/Maggie+JG_5883_8+FINAL+FLAT.jpg Exhibits - Stories of Black Leadership II: Breaking Barriers Maggie Aderin-Pocock https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601052603584-AJ31GLQLKKEYLV1HA6J1/Shirley+Interior+JG_5326_11+final+flat.jpg Exhibits - Stories of Black Leadership II: Breaking Barriers Dr. Shirley Thompson OBE https://www.bcaexhibits.org.uk/exhibits/inspiringlegacies monthly 0.5 2022-09-29 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/db056db2-9eb6-4451-a257-ca1b259ff618/_GF12112.jpg Exhibits - Stories of Black Leadership III: Inspiring Legacies https://www.bcaexhibits.org.uk/exhibits/reimagining monthly 0.5 2021-01-23 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601750111561-QK7T4FV4UARS4HNOL4S0/Pelumi+image+.jpg Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601752001461-O3R5XQMJMHO5UETW7CJM/Judah+Image.JPG Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601751845169-QBKP1H33T40T0ZZC182X/Evan+image.jpg Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601751702875-HTJXJTK550WHRAN60562/Danielle+Image.jpg Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601752351684-PXS44HS4KN6TU2QXN9G3/libita.jpg Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1603817398873-V9WFGFRH00PRUX613L4N/joy.jpg Exhibits - Re-imagining Care https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601752435971-JNB89HVZMJ8RARPMKBTT/Marcia+Image.jpeg Exhibits - Re-imagining Care https://www.bcaexhibits.org.uk/exhibits/residency monthly 0.5 2020-11-25 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605909037530-F3A78DTCN64SG2XHTH2C/still+from+scripted+for+a+wayward+narrator%2C+samra+mayanja%2C+2020.png Exhibits - Digital Artist Residencies SAMRA MAYANJA https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605950243078-4J0J0VHIW21JSP2XH0RZ/IS+IT+IN+IT%2C+Zinzi+Minott+at+SHS%2C+Photo+credit+%C2%A9+Anne+Tetzlaff.jpg Exhibits - Digital Artist Residencies ZINZI MINOTT https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605909225648-5CHLAJCECCU76DJGL1BI/Shamica+Ruddock_It+Is+What+It+Is.jpg Exhibits - Digital Artist Residencies SHAMICA RUDDOCK https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1606306328217-X8XPB9L5Y4Q58E2I749V/transitions.jpg Exhibits - Digital Artist Residencies ANISA NUH-ALI https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605911503453-9XU399WPMBDL8VQOEKG2/Rhea+Dillon+%27Dishwater+and+No+Images%27+at+Peak+London+low.jpg Exhibits - Digital Artist Residencies RHEA DILLON https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605908954199-U9EQPCPQX4C7CG7X31BM/Felix+Taylor.jpg Exhibits - Digital Artist Residencies FELIX TAYLOR https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605906381298-7O82RF2MPUHDEYIPRBPF/LH+Portrait.jpg Exhibits - Digital Artist Residencies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1605909341005-OYY8VY2R4IHAA21OQ536/Ufuoma+Essi%2C+still+from+All+That+You+Can%E2%80%99t+Leave+Behind+%282019%29+Still.png Exhibits - Digital Artist Residencies UFUOMA ESSI https://www.bcaexhibits.org.uk/exhibits/warc monthly 0.5 2021-01-23 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601758286512-5LOXWDEHPL1ECBFKMCLE/Hidden+figures_03.png Exhibits - Hidden Figures: A Look at Black British Marketing and Design https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601758344021-DWDHCSAX7KR213VKT3YX/Hidden+figures_04.png Exhibits - Hidden Figures: A Look at Black British Marketing and Design https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1601758242582-5Y57I2Z9361GI59KU1GO/Hidden+figures_02.png Exhibits - Hidden Figures: A Look at Black British Marketing and Design https://www.bcaexhibits.org.uk/exhibits/before-them-we monthly 0.5 2021-09-27 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1627990429130-GFK9QO0UHY4U2NMKJ2GR/Image+1.jpg Exhibits - Before Them, We - Before Them, We: Exhibition ‘Before Them, We’ is a multidisciplinary project by artist and cultural producer, Ruth Sutoyé. It explores the lives primarily of grandparents & intergenerational relationships of African descent in the UK, and how we archive and preserve oral histories. The exhibition consists of portraits and oral history interviews (and at the latter stage of the run, a short film). The interviews will include stories of migration and more, emphasising the importance of preserving narratives of diasporic communities. ‘Before Them, We’ is curated by Natalie Fiawoo and produced by producer/artist, Ruth Sutoyé, and producer/writer, Tobi Kyeremateng. ——— Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 12 August 2021 – 18 September 2021 Join the conversation: #BeforeThemWe https://www.bcaexhibits.org.uk/exhibits/black-mens-minds monthly 0.5 2021-11-09 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1632737153657-M8C19IEFXNW79TEXADV8/BlackMensMinds.png Exhibits - Black Men's Minds - Black Men’s Minds Quiet Voice presents Black Men’s Minds an immersive audio-visual installation, exploring the experiences of Black men and mental health. The installation was developed in response to statistics showing the disproportionate numbers of Black men sectioned under the Mental Health Act: "Black people are four times more likely to be detained under the Mental Health Act and 17 times more likely to be diagnosed with a serious mental health condition than their white counterpart." This is an artistic interpretation by audio-visual artist and psychotherapist Stephen Rudder, in collaboration with Black men from various backgrounds, who have had mental health challenges. The piece seeks to open up wider perspectives on social pressure, masculinity, and mental health services and to bring their voices into conversations around Black men’s mental health. "As a first-generation Black man growing up in the UK and trained as a psychotherapist, I am acutely aware of the psychological tensions unique to Black men and wanted to explore this in relation to Black men’s minds." – Stephen Rudder. It features personal testimonies, dramatic visual projections, and a musical score by Richard J. Edwards using frequencies derived from psychotropic medication. FREE ADMISSION ——— Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 20 September 2021 – 30 October 2021 Join the conversation: #BlackMensMinds https://www.bcaexhibits.org.uk/exhibits/race-cards monthly 0.5 2022-01-21 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/a7d2c4f1-c170-4ef8-a1da-847c3889f88f/Race-Cards-Selina-Thompson-%25C2%25A9-Manuel%40DARC.media-15-1-2000x1334.jpeg Exhibits - Race Cards - Race Cards Race Cards is a constantly growing installation and archive, a room containing 1000 questions about race. The questions were written by Birmingham-based artist and performer, Selina Thompson in three sittings across 24 hours – one weekend in Edinburgh. You’re invited to read them all at BCA: on the condition that you answer one of them. *Updates every 9 months, the work has toured across the world since 2015. 65. Are you Black, or are you ‘new Black’? 170. What is the long-term psychological impact of white supremacy on people of colour? 220. My mum does not talk about race anymore. It makes her uncomfortable, tired. Will this happen to me? 307. Why do people assume that racism will just passively die out if we wait long enough? 440. Are you angry? 541. Whatever happened to Kony 2012? 720. When does it all end? Race Cards has toured Canada, Ireland, Germany, the USA, and across the UK. Commissioned by Camden People’s Theatre and Leeds Library through Room 700. With support from Buzzcut, Forest Fringe, and Fierce FWD FREE ADMISSION ——— Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 18 November 2021 – 18 December 2021 Join the conversation: #RaceCards https://www.bcaexhibits.org.uk/exhibits/revisions-in-colour monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/eea7d332-c9dc-4224-ba16-bf5d18a24a66/image-XQE1hsqtx80Usg-large.jpg Exhibits - RUDI PATTERSON: re(Visions) in Colour - (re)Visions in Colour Rudi Patterson This exhibition featured works for sale by artist, actor, and model Rudi Patterson (1933-2013). The exhibition also featured items from Patterson’s archive (held at Black Cultural Archives) including oral history excerpts and newly digitised material, providing further insight into the life and work of this extraordinarily singular artist. Courtesy of the Estate of Rudi Patterson. ——— FREE ADMISSION Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 18 November 2021 – 19 March 2022 Join the conversation: #RevisionsInColour https://www.bcaexhibits.org.uk/exhibits/home-remembering-the-windrush-generation monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/d270db6c-2ccc-4018-a24c-76f5dce9b096/BCA-Front+Room+%28235%29.JPG Exhibits - HOME: Remembering the Windrush Generation - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/11f7cee0-c610-4b6e-9742-0cc29b3c2b1b/Digital+1.png Exhibits - HOME: Remembering the Windrush Generation - HOME: Remembering the Windrush Generation On Windrush Day, the anniversary of the Empire Windrush arriving at Tilbury Cruise Terminal in 1948, we are excited to present: HOME: Remembering the Windrush Generation Curated by Tony Fairweather, HOME is a nostalgic look back at the well-remembered homes of the Windrush Generation. A recreation of the iconic Caribbean front room, kitchen, and bedroom, this exhibition showcases many family favourites, from the Blue Spot Gramophone to the eclectic ornaments displayed in glass cabinets. We welcome all audiences to immerse themselves in the social history of the Windrush Generation and learn about the cultural significance of artefacts from the era. ——— £5 ENTRY, £3 CONCESSION FREE ENTRY ON WINDRUSH DAY, 22 JUNE 2022 Visit the exhibition: Black Cultural Archives, 1 Windrush Square, Brixton SW2 1EF Dates: 22 June 2022 – 10 September 2022 Join the conversation: #WindrushGeneration https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/5772bc9e-df3c-4e73-942c-dbce3f083477/BCA-Front+Room+%28470%29.JPG Exhibits - HOME: Remembering the Windrush Generation https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/aff987ea-594d-4220-af01-8bca229c7811/BCA-Front+Room+%28385%29.JPG Exhibits - HOME: Remembering the Windrush Generation https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/7e3b9341-9a7c-4dce-b544-39b275617654/BCA-Front+Room+%28122%29.JPG Exhibits - HOME: Remembering the Windrush Generation https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1138caaa-3160-4e56-9dcc-793619323caf/Front+Room+%40+BCA+%2841%29.JPG Exhibits - HOME: Remembering the Windrush Generation https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/b989aed2-cff0-489a-a49a-ada9f7111b4c/BCA-Front+Room+%28443%29.JPG Exhibits - HOME: Remembering the Windrush Generation https://www.bcaexhibits.org.uk/exhibits/transforming-legacies monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/6df3f9c2-7956-44a6-8d28-06dc46591f23/BF_Header%2BSquares_1080x1080px2.png Exhibits - Transforming Legacies - Transforming Legacies Curated by Pacheanne Anderson, Transforming Legacies brings together 21 emerging and established artists, and presents a reflection of the last 40 years of Black British art across multiple disciplines including painting, ceramics, film, and performance. The works exhibited will be commenting on life at present and exploring different versions of the future. Artworks from the likes of Ajamu, Karis Beaumont, Jaffar Aly and Enam Gbewonyo will feature in the exhibition. Combining the strength of Black art across decades, the exhibition provides an opportunity to evaluate the way British art history is understood, shared, celebrated, and portrayed. Presented across several rooms, the exhibition is designed to allow visitors to journey through generations of Black art. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/e9d84966-72ba-4e39-a19c-4a6d59ffd072/bca_tf_229951-severe-noise.jpg Exhibits - Transforming Legacies - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/5a540698-ac83-4546-a946-a481170ec919/bca_tf_229956-severe-noise.jpg Exhibits - Transforming Legacies - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/4e01456e-010f-4199-baf5-a768a4767f42/HEADSHOT+-+PA1.png Exhibits - Transforming Legacies - Make it stand out Pacheanne Anderson https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/6d2a6470-8160-4cab-8a3c-2bb6eadd8e0b/bca_tf_229975-severe-noise.jpg Exhibits - Transforming Legacies - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/d49c87a8-989d-4369-b2f0-c4eb9dca6c74/TL+-+In+Conversation.png Exhibits - Transforming Legacies - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/88d63cf5-25b7-4ad8-84d0-6d0c70058fac/bca_tf_229941-severe-noise.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/a626f9d0-d3c3-4de3-a583-4e1d53f25824/CYSFM+-+Family+3.jpg Exhibits - Transforming Legacies Can you sit for me? by Ryan Prince https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/888ec7c1-1b76-448d-970d-56dff464ca60/bca_tf_229973-severe-noise.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/7c3ac9de-e686-4da4-bedf-4ab329949809/JAFAR+Aly.PNG Exhibits - Transforming Legacies CLR*KEHINDE AJAYI_COKER 2022 by Jaffar Aly https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/0c79a5b7-439f-44ca-8190-ebe0d5345021/bca_tf_229926-severe-noise.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/58174ffa-8e66-4222-b722-5946ebb541cc/%28L-R%29+Chiizii+-+QUEER%2C+Josh+Woolford+-+BOUND+%C2%A9+BCA+%282%29.jpg Exhibits - Transforming Legacies Credit: George https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/21f2a098-2e7c-4d22-aec6-7897549d7e72/%28L-R%29Josh+Woolford+BOUND%2C+Enam+Gbewonyo+artwork+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/6851cb8d-d70d-4b28-b802-d201dc285040/Alvin+Kofi%2C+Emmanuel+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/7209247d-2507-41bc-aff6-3dabac78e2e8/Artwork+by+Ejatu+Shaw+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/b4b6fd4e-a6ba-419c-abe7-739ee646029a/Charlie+Phillips%2C+Black+Power%2C+Fashion+and+Politics+1976+%C2%A9+BCA+%282%29.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/616018f1-ce2f-4c63-a047-5e2e96a04403/Charlie+Phillips%2C+Black+Power%2C+Fashion+and+Politics+1976+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/0b52e9e1-31b2-456b-85a4-b820d70043bf/Hurvin+Anderson%2C+Mrs.+S.+Keita+-+Red+2010+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/4b60e415-4263-42a1-9df0-7334afc976eb/Jaffar+Aly%2C+CLR+KHEINDE+AJAYI-COKER+2022+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/7dbc53cc-0a22-4502-a239-626397bcf69d/Karis+Beaumont%2C+portrait+of+Ozie+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/e37d18f7-e81b-453b-a8f2-6144a00812e0/Mattia+Guarnera-MacCarthy%2C+Poker+face+1+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1f69806a-1d9d-4c5f-ba5d-deaa064df64b/Miya+Browne%2C+%28MAD%29ONNA+ZERO+POINT+ZERO+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/e71672c2-693e-4751-af0d-6da881a1199d/Ryan+Prince%2C+Can+You+Sit+For+Me+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/db0912a3-5b4d-4c9d-aeaa-6a68ae97a33c/Sola+Olulode%2C+Lunch+Date+2020+%C2%A9BCA.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/ece0d86e-8e3d-4e92-8b36-109214896c35/Transforming+Legacies+exhibition+%C2%A9+BCA+%282%29.jpg Exhibits - Transforming Legacies https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1052b4f5-88af-4dfb-ac30-c7001755915d/Transforming+Legacies+exhibition+%C2%A9+BCA.jpg Exhibits - Transforming Legacies https://www.bcaexhibits.org.uk/exhibits/till monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1675877613848-RMUHBGM9CHB5UU2V4JEA/TILL+exhibition.png Exhibits - TILL - TILL TILL exhibits archive photos illustrating the story of Emmett Till, a 14-year-old African-American boy who was abducted, tortured, and lynched in Mississippi in 1955. To coincide with the 2022 release of the Till movie, the exhibit reflects on the connected histories of the US and UK civil rights fight for racial justice and human rights, during the mid-20th century. The story of Emmett Till, perhaps lesser known in the UK but no less harrowing, vehemently shook the world, and played a key role in triggering collective activism both here and in the US, in what came to be known as the Civil Rights Movement. The images in this exhibit pay respect to Emmet Till and his powerful legacy. His story had an everlasting impact and reminds us that the fight for one Black boy is the fight for all – a fight that continues today. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/9eb06de5-4a58-45c3-b7d2-21b9d833a166/TILL+-+screening.png Exhibits - TILL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/f35f0902-becb-45cd-8322-78f89f617dd9/Emmett+%26+Mamie+Christmas+1954.jpeg Exhibits - TILL - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/aa3360af-588f-4130-b930-4bc8f4a1a3b6/GettyImages-1387675180.jpeg Exhibits - TILL https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/329d35d8-5e96-4e89-b88b-6623fcdc1ed9/GettyImages-515021396.jpeg Exhibits - TILL https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/8c062898-b258-49d7-87bc-865fb3b43e46/gettyimages-525601462-594x594.jpeg Exhibits - TILL https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/f35f0902-becb-45cd-8322-78f89f617dd9/Emmett+%26+Mamie+Christmas+1954.jpeg Exhibits - TILL https://www.bcaexhibits.org.uk/exhibits/states-of-blackness monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/398dd8f9-347b-4d93-83c6-3fbaf7fa3183/States+of+Blackness+-+exhibition+poster.png Exhibits - States of Blackness - States of Blackness This exhibition expresses different perspectives of blackness and reflects on the different ways it is experienced, across various artistic mediums, voices, and geographic states. The six selected artists (Jamal Ademola, Stephanie Brown, Lewinale Havett, Kay Hickman, Alexis McGrigg, Jasmine Murrell) each illuminate evolving ‘States of Blackness’, in the service of freedom, and therefore social justice for all. https://www.bcaexhibits.org.uk/exhibits/grenada-as-reference monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/c97d3322-ae5b-4e8a-ae0b-515780dba505/Shifting+the+Centre+-+Grenada+as+Reference.jpeg Exhibits - Shifting the Centre: Grenada as reference - Make it stand out Image: ‘Long Live the People’s Revo’ from CREFT/1/6: Jacqueline Creft Memorial Collection *Please get in contact if this is your image. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/263b2275-8dae-4bb8-87de-9b8cd12743fa/StC_Jacqueline-Creft_Grenada-as_reference-600x633.png https://www.bcaexhibits.org.uk/exhibits/black-ink-45 monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/4b2a802e-2a1a-45b1-a49e-2c9785f9cd25/AS_Takerover_festival_ideas_noLogos_IG+post+-+general+use+copy%402x.png Exhibits - Black Ink: When Trouble Come, Ink Haffi Run - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/6b876ce7-daf6-43fe-8669-8e0cb6fb33d1/IES+LOGO.jpg Exhibits - Black Ink: When Trouble Come, Ink Haffi Run - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/6d183858-dd44-4116-bec4-1ceca982ddab/thumbnail_1+Colour+Logo+Red+Text+RGB+2.jpg Exhibits - Black Ink: When Trouble Come, Ink Haffi Run - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/f042749e-e3bb-4b9c-b61f-061c5e6b937c/thumbnail_BlackInkLegacy_LogoFinal_300-RGB.jpg Exhibits - Black Ink: When Trouble Come, Ink Haffi Run - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.bcaexhibits.org.uk/exhibits/over-a-barrel monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/45552e55-5aa2-4378-b513-ca0af3e30672/OAB+exhibition+banner.png https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/ba1a86e2-12ac-4fca-a1bd-1206203083ca/Nadine_s+Dad+_+Aunty.jpeg https://www.bcaexhibits.org.uk/exhibits/the-ascension-years monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/d2f2e01b-05ef-4935-b152-ceb4c395306c/The+Ascension+Years+-+Nas.png https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/777293b1-9f4a-4ae6-b9f1-fae8a1717573/Copy+of+notorious+by+tee+max.jpeg https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/ef798e65-d1ee-4d31-9e15-5aa6e82a9104/Copy+of+beyonce+by+tee+max.jpeg https://www.bcaexhibits.org.uk/exhibits/proverbs-of-the-windrush-child monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/be8459a2-2253-4af8-aa7a-c6c24ab07273/Proverbs+of+the+Windrush+Child.png Exhibits - Proverbs of the Windrush Child - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/e05b6469-658c-4d86-82ac-70a3ebb8ccc9/Yvadney+Davis+in+Studio.JPG https://www.bcaexhibits.org.uk/exhibits/challenging-the-narrative monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/7cd6eb53-4771-4064-923f-835d8d093668/wellcome+trust+logos.jpg https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/3b5ed9fa-ef6c-488a-83bd-3397f4e6f879/CTN-+website+bannerv2.jpg https://www.bcaexhibits.org.uk/exhibits/bob-marley-one-love-exhibition monthly 0.5 2024-02-13 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/d8f18449-15fc-409d-a638-b7a3130abf77/Instagram+Post+-+Opening+This+Week+-+Bob+Marley+2.24+%282%29.png https://www.bcaexhibits.org.uk/exhibits/stories-of-black-leadership monthly 0.5 2024-03-08 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/0ff2acca-9df7-40ba-9097-b6a2859caee8/1.png https://www.bcaexhibits.org.uk/exhibits/tiesthatbind monthly 0.5 2024-05-08 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/00441057-acee-4058-bdb7-02584ba8737f/ucl-logo-white-on-black.jpg https://www.bcaexhibits.org.uk/exhibits/african-deeds monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/108f2f57-0c7d-42bd-822d-86cc76cc525a/Instagram+Post+-+African+Deeds+8.24+%282500+x+2000+px%29.jpg https://www.bcaexhibits.org.uk/exhibits/bluespotgram monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/5dcc3074-85f1-45ab-bf3f-894da76b70ce/Instagram+Post+-+Bluespot+Exhibition+7.24+%282%29.png https://www.bcaexhibits.org.uk/exhibits/race-today-black-history-is-british-history monthly 0.5 2024-10-31 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/a2c1143a-ec49-4fed-851b-926894f8ba8c/Instagram+Post+-+Race+Today+10.24.png https://www.bcaexhibits.org.uk/exhibits/wvoices monthly 0.5 2021-04-10 https://www.bcaexhibits.org.uk/exhibits/sounds-of-the-rush monthly 0.5 2021-06-15 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1623750128409-UM1MDV2CN7OT31K7TQWU/download.jpg Exhibits - Sounds of the ‘rush - Sounds of the ‘rush These newly digitised excerpts from our Windrush oral history collections, provide a window into the rich and varied individual experiences of life in Britain for ‘the Windrush generation’ in the UK. Hear invaluable testimonies from iconic figures such as organisers and activists Connie Mark and Kathleen Wrsama and Windrush passenger Clifford Fullerton alongside Ivoran Fairweather William Henry and Thomas Joseph, covering themes from arrival, employment, social life, family, and resistance. The full oral histories are available to listen to in our reading room at 1 Windrush square. https://www.bcaexhibits.org.uk/exhibits/melbawilson monthly 0.5 2025-11-11 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/5f30aa07-6351-439d-8e2f-d1ea10e8952c/bannerdtamelba_update.png Exhibits - Undaunted: The Melba Wilson Archive Project - Our residents, Decolonising the Archive (DTA) interviewed Melba Wilson for DTA RADIO https://www.bcaexhibits.org.uk/exhibits/our-journey monthly 0.5 2021-01-25 https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611348969494-3EP7OSMOARDE55N6AS7N/Ajay+Dattani.jpg Exhibits - Our Journey Our Story: History and memory of Sickle Cell Anaemia in Britain 1950-2020 Living with Sickle Cell https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611348823438-JF0306O591XDYYD6PQYP/garth+Crook+picture.png Exhibits - Our Journey Our Story: History and memory of Sickle Cell Anaemia in Britain 1950-2020 Challenging https://images.squarespace-cdn.com/content/v1/5f6e0f8023c22e5bbdd791be/1611348896968-M70LZX7O4CFZSCMHMT6H/You+and+I%2C+Woman.jpg Exhibits - Our Journey Our Story: History and memory of Sickle Cell Anaemia in Britain 1950-2020 Expressing