On 6th July 2017 more than 200 delegates from 20 countries gathered in the city of Tampere, Finland, to participate in the 6th Biennial ‘Afroeuropeans’ Network Conference on Black Cultures and Identities in Europe – convened and hosted by the Academy of Finland Research Fellow Dr Anna Rastas (Faculty of Social Sciences, University of Tampere), working in partnership with a team of scholars, artists and administrators from Aalto University, Sibelius Academy, the University of Tampere and the University of Helsinki.
The conference took place over three days, specifically scheduled to also coincide with Tampere’s hosting of the FEST AFRIKA 2017 cultural programme of live music, poetry and spoken word performances by solo musicians, dancers, bands, dub poets and other literary and performing arts practitioners from continental Africa and the African and Caribbean diasporas in Europe.
Keynote Address by Professor Paul Gilroy
The conference’s opening keynote address was given by the internationally renowned social scientist, literature scholar and cultural theorist Professor Paul Gilroy (American and English Literature, King’s College, University of London), who gave a wide-ranging presentation about race and racism, inequalities, border politics, the dynamics and impacts of securitisation, and associated activism to stem the problematic rise of ‘securitocracy’ throughout Europe – titled, “On the necessity and the impossibility of being a black European [a 2017 re-mix] or the value of anti-racism in the ‘Alt-right’ era.“
Earlier this year as part of my visit to the USA to present at the College Art Association (CAA) annual conference in New York I was pleased to attend the CAA’s Committee for Women in the Arts panel session themed around “Feminist Pedagogy through Activist Arts Practices” (New York Hilton, Manhattan, 17 February 2017). During this 90-minute session four arts scholars presented papers examining different manifestations and articulations of feminist liberatory discourse through contemporary visual arts practices. A brief outline of each paper is summarised below, with links to further information about the featured artists, their projects and their portfolios of work, past and present.
(1) “The Kinship Project: Manifesting Connections to History through African-American Family Narratives” – This illustrated talk was presented by artist, anthropologist and archivist Samantha Hill who discussed an innovative archives-based research project she first developed in the early 2010s and has been touring to selected communities within the USA since that time to specifically empower African-American families to share photographs from their private and personal archives so as to provide fresh insights on what it was like to live in the United States and challenge racisms during the post-enslavement, pre-civil rights period from the mid-to-late-19th century through to the 1950s-60s (see: https://samanthahill.net/kinship-project/).
On 7th December I was pleased to give a presentation about African and Diasporan artists’ ‘politically aesthetic’ interventions and activism within museums and galleries in the West. This illustrated talk was part of a panel session and Q&A that took place at Raindance in Charing Cross as the inaugural London meeting organised by the education and social justice project “Make a Difference” (aka “The M.A.D Project“).
As a non-profit education organisation, the artists, teachers, scholars and arts activists affiliated to M.A.D seek to develop creative learning initiatives, exhibitions and awareness-raising campaigns that challenge dominant narratives perpetuating racialalised hierarchies, ‘differentialist racism,’ stereotyping and the legacies of colonialism within present-day mainstream society. Through this work M.A.D make a significant contribution towards tackling racism(s), other forms of prejudice, intolerance and misrepresentations of cultures falsely perceived as ‘other.’
Central to the Project’s pedagogic outcomes are the ongoing collation and presentation of stories and images detailing different forms of cultural expression from various regions of the World – particularly the Middle East, continental Africa, Asia and Europe. These diverse (and often diasporic) narratives – as well as the activists’ and researchers’ accounts of their own travel experiences through which this cultural knowledge is sourced – are widely disseminated via publications, photo exhibitions and taught programmes in classrooms, community-based organizations, universities and other public institutions.
Session title:Western Museumscapes and the Political Aesthetics of Decolonisation: African and Diasporan Arts Activists Agitating for Change
High-profile museums and galleries in the West – such as the British Museum in London, the Pompidou in Paris, and the MoMA in New York – are continuously revising and developing new strategic plans to ensure that their collections, cultural programmes and exhibiting practices are engaging increasingly diverse global audiences. At the heart of these developments are complex issues about the changing nature of acquisitioning, curation, display and interpretation of artworks and cultural objects described as permanent holdings. The policies and practices implemented by these institutions serve as catalysts for generating and sustaining a rich discourse that invites artists, researchers, curators, archivists, educators, scholar activists and other creative practitioners to question their own roles and responsibilities within such dynamic museumscapes.
For the past four years the Southbank Centre in London has hosted an event called “Africa Utopia.” Typically, this diverse programme of talks, marketplace activities, displays, fashion shows and other artistic happenings takes place over the course of a weekend in early autumn and is marketed as one of the Southbank’s “Festivals for the World” series.
The artistic and strategic collaborations that produce this extensive cultural programme involve a number of key players – most importantly, the event’s co-founders: the Senegalese singer and human rights advocate Baaba Maal; and the Southbank Centre’s artistic director Jude Kelly CBE – as well as a host of commercial sponsors, media partners and arts organisations contributing to the talks, performances and market place activities.
Central to the success of Africa Utopia is its ability to remain topical, informed and up-to-date about artistic and aesthetic innovations emerging from all regions of the continent, as well as from the communities of African diasporans settled all over the world. This is one of the reasons why hosting the event in the heart of an urban metropolis like London is always such an interesting mix of cultural and political fusion, shown through a variety of arts and crafts created by established and emerging designers, photographers, textile artists, creators of African inspired couture and contemporary art installationists.
For me, the highlight of Africa Utopia 2016 was the range of talks and debates – not only in relation to literary, visual and performing arts, but also in terms of how such cultural discourses intersect with the political, economic, environmental and technological concerns affecting people’s daily lives. This year’s panel sessions were programmed by Hannah Pool and curated with a focus on themes such as arts activism, social justice and inclusive practices within the cultural and creative industries – especially in relation to TV, cinema and online broadcasting platforms.