The Caribbean Artists Movement 1966 1972

Caribbean migration to Britain brought many new things--new music, new foods, new styles. It brought new ways of thinking too. This lively, innovative book explores the intellectual ideas which the West Indians brought with them to Britain. It shows that for more than a century West Indians living in Britain developed a dazzling intellectual critique of the codes of Imperial Britain. This is the first comprehensive discussion of the major Caribbean thinkers who came to live in twentieth-century Britain. Chapters discuss the influence of, amongst others, C.L.R. James, Una Marson, George Lamming, Jean Rhys, Claude McKay and V.S. Naipaul.

Black artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.

This reference identifies key contributors to the Black Arts Movement, the name given to a group of poets, artists, dramatists, musicians, and writers who emerged in the wake of the Black Power Movement. This book also discusses major works produced during the period, as well as significant publications, influential groups, and organizations.

Covering the period from the interwar years through the arrival of the steamship SS Empire Windrush from Jamaica in 1948 and culminating in the period of decolonization in the British Caribbean by the early 1970s, this project situates the development of networks of communication, categories of identification, and Caribbean radical politics both in the metropole and abroad. Blackening Britain explores how articulations of Caribbean identity formation corresponded to the following themes: organic collective action, political mobilization, cultural expressions of shared consciousness, and novel patterns of communication. Blackening Britain shows how colonial migrants developed tools of resistance in the imperial center predicated on their racialized consciousness that emerged from their experiences of alienation and discrimination in Britain. This book also interrogates the ways in which prominent West Indian activists, intellectuals, political actors, and artists conceived of their relationship to Britain. Ultimately, this work shows a move away from British identity and a radical, revolutionary consciousness rooted in the West Indian background and forged in the contentious space of metropolitan Britain.

World is Africa brings together more than 30 important texts by Eddie Chambers, who for several decades has been an original and a critical voice within the field of African diaspora art history. The texts range from book chapters and catalogue essays, to shorter texts. Chambers focuses on contemporary artists and their practices, from a range of international locations, who for the most part are identified with the African diaspora. None of the texts are available online and none have been available outside of the original publication in which they first appeared. The volume contains several new pieces of writing, including a consideration of the art world 'fetishization' of the 1980s, as the manifestation of a reluctance to accept the majority of Black British artists as valid individual practitioners, choosing instead to shackle them to exhibitions that took place three decades ago. Another new text re-examines the 'map paintings' of Frank Bowling, the Guyana-born artist who was the subject of a major retrospective at Tate Britain in 2019. The third introduces the little-known record sleeve illustrations of Charles White, the American artist who was the subject of a major retrospective in 2018 at major galleries across the US. Among the other new texts is a critical reflection on the patronage the Greater London Council extended to Black artists in 1980s London. World is Africa makes a valuable contribution to the emerging discipline of black British art history, the field of African diaspora studies and African diaspora art history.

This encyclopedia explores the many long-standing influences of Africa and people of African descent on the culture of the Americas, while tracing the many ways in which the Americas remain closely interconnected with Africa. Ranging from the 15th century to the present, Africa and the Americas: Culture, Politics, and History explores the many ways Africa and African peoples have shaped the cultural life of the Americas—and how, in turn, life in the Americas reverberates in Africa. This groundbreaking three-volume encyclopedia offers hundreds of alphabetically organized entries on African history, nations, and peoples plus African-influenced aspects of life in the Americas. It also features authoritative introductory essays on history, culture and religion, demography, international relations, economics and trade, and arts and literature. In doing so, it traces the complex and continuous movement of peoples of African descent to the West, the mechanics and lingering effects of colonialism and the slave trade, and the crucial issues of cultural retention and adaptation that are essential to our understanding of the effects of globalization.

This book deals with the issue of African Caribbean pupil invisibility in the art and design classroom. As such it addresses African Caribbean pupil invisibility in almost any teaching and learning context. The book argues that the slave trade, which ruptured their continuities with an African past, continues to impact on the learning of such pupils relative to others.