The otherness of South Asian Art in British academia

Apoorva Singh

Edited by Ketaki Zodgekar

Chila Kumari Burman was a member of the British Black Arts movement in the 1980s and one of the first South Asian women to make political art in the UK (Buck, 2020). Her work was most recently exhibited by Tate Britain in 2020, where her piece remembering a brave new world, filled with imagery of iconic Hindu deities and South Asian aesthetics, was the gallery’s winter commission. South Asian feminist perspectives on post-colonial Britain are centred in Burman’s work, which spans multiple media, from printmaking and painting, to installation and film. In my exploration of Chila Kumari Burman, I started to wonder: How do we read and understand her artwork? Is it post-colonial, South Asian, feminist or British? How should we define the artwork’s aesthetic and cultural underpinnings?

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PM SESSION: Liberating the Classroom – Dave Thomas

Join us at 16:00, Wednesday 28th April for a talk with Dave Thomas!

Dave S. P Thomas is an Occupational Therapist (specialism in Occupational Science), a Public Health Specialist, and Doctoral Researcher. He previously managed the University of Kent’s Student Success project, which conducts research on inequalities in academic attainment and develops interventions to improve student’s educational experiences and academic outcomes. His current research adopts a ‘race-focused’ approach in exploring the relationship between university students’ perceptions of the cultural sensitivity of the curriculum of their program of study and their engagement – as measured by their interaction with teachers and their interest in their program of study. He has developed and validated a novel set of Culturally Sensitive Curricula scales and two Interaction with Teachers scales to enable students in postsecondary education to measure the impact of the curriculum’s unacknowledged ‘whiteness’ on their engagement and overall achievement.

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PM SESSION: Liberating the Classroom – Lisa Williams

Join us at 15:30 for a talk from Lisa Williams, founder of the Edinburgh Caribbean Association and creator of Black History Walks of Edinburgh.

Lisa Williams grew up in Dorset in a British-Grenadian family and moved to Grenada to run cultural/educational exchanges for twenty years. After relocating to Edinburgh in 2011, she founded the Edinburgh Caribbean Association and curates a range of arts events across Scotland to promote Caribbean culture. She runs educational and anti-racist programmes in schools and universities and leads walking tours focusing on Edinburgh’s Black History. 

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AM SESSION: Decolonising the Curriculum – Dr Hannah Marie Robbins

Join us for a discussion with Dr Hannah Marie Robbins on Decolonising the Curriculum at 11:00 AM.

Hannah Marie Robbins (she/they) is an Assistant Professor in Popular Music and Director of Black Studies at the University of Nottingham (UK). She is an expert on the intersections of Blackness, queerness, and gender in American musical theatre. Last summer, her short-form article on diversity and representation in the hit musical Hamilton went viral and has received over 100,000 views. Hannah is an advocate-in-progress for equality in higher education. She is a co-founder of the international network Black in the Arts and Humanities and a member of the radical collective, the Free Black University. 

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A tintype of an African sculpture from the artists home

‘Decolonising the Camera: Photography in Racial Time’: Mark Sealy’s decolonial perspective on photography

By Maya Campbell

Artwork by Maya Campbell

Edited by Ketaki Zodgekar

In comparison to older visual languages such as painting, the relative newness of photography as a creative medium and the vast quantity of images it generates for consumption can be disorientating, especially when we want to evaluate the history of photography. As a tool, the image is highly flexible: historically, images have been digested by the public as a representation of social realities, despite their highly subjective and malleable nature. During my second year studying BA Photography at London College of Communication (UAL), we started to delve into theory surrounding contemporary photographic issues and practices. However, there was a noticeable vacuum in our lectures and recommended reading lists when it came to post-colonial critiques of images depicting the ‘Other’ throughout history. Though fascinating, all of the main thinkers whose theories our curriculum centred were greatly limited, their concepts produced through the prism of whiteness, masculinity and economic agency. 

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Lino print of French-Mauritanian film director, Med Hondo. Hondo is depicted holding a loud speaker and standing in front of a banner emblazoned with the national motto of France and Haiti, "Liberté, égalité, fraternité".

The Visionary Films of Med Hondo

Illustration and article by François Giraud 

Edited by Ketaki Zodgekar

Although he worked at the margins of the film industry for half a century, pioneer French-Mauritanian filmmaker Med Hondo (1936-2019) is not an obscure artist. As recently as 2020, the German publisher Archive Books compiled almost fifty years of interviews with Med Hondo, which shows the interest that his transnational and anticolonial cinema continues to elicit, decades after many of his films were released. In 1970, his first long feature film Soleil Ôwhich powerfully denounces racism in French society and the exploitation and discrimination of African emigrants in Paris—received exposure at Cannes Festival and was awarded a Golden Leopard at the Locarno International Festival. Some of his later films, such as Sarraounia (1986) and Black Light (Lumière noire, 1994), have been studied in academic journals specialising in African and postcolonial studies. 

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A Utopian Curriculum

PART TWO: BLACK PANTHER (2018)

Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

Welcome back to the Utopian Curriculum series with Project Myopia! In this post, I will look at the first case study on the curriculum, the 2018 Marvel film Black Panther. Directed by Ryan Coogler, it has received a renewed level of attention and love since the tragic passing of actor Chadwick Boseman.

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Sun Ra’s Space Is The Place: A Radical Black reimagining of a better future

Oluwaseun Matiluko

Edited by Maria Torres-Quevedo

Artwork by Olivia Twist: YesOliviaTwist

I am currently in the final year of my Law degree. When the time came to select the modules I would study this year I decided to pick the modules in which I knew I would feel represented and seen. Although I enjoyed the previous years of studying ‘Contract’, ‘Tort’, ‘Criminal’ and ‘Property Law’ I felt the need to expand my horizons; to study something that I had never had the opportunity to study before and probably would not have the opportunity to study again. So, alongside my modules ‘Equity Law’ and ‘Employment Law’, I elected to study modules in ‘Sex, Gender and Law’ and ‘Law and Race’. I had one more option left, and I was struggling to fill it when I spoke to my good friend Sheila. She had seen an open module listed on our University website– ‘African-American Music in the 20th century’– and when I clicked on it I immediately smiled. A module focussed on the music that I love but also drew on its West African heritage seemed to perfectly intersect with my interests and my personal heritage and so I jumped at the chance to study it. I am so grateful that I did.

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Diary of a Madman by Lu Xun

Evianne Darcy

Edited by Ketaki Zodgekar

Artwork by Kelechi Hafstad: Kelechi Anna Photography

The timeless, multilayered Diary of a Madman by Lu Xun tells the story of a now-recovered “invalid” (Lu 21), who had previously fallen ill to a “persecution complex” (21), through which he became convinced that everyone around him was a cannibal, be it his brother, neighbour, or the children of the village in which he resides. In his delusional frenzy, the “invalid” believes he is serving time for trampling on “Records of the Past” (22), and that the local village children are being taught to “Eat people!” (24) He even suspects that the words of an antiquated book and the neighbour’s dog – descended from wolves – are conspiring to eat him too. Eventually, instead of being eaten, our madman cowers under the “weight of four thousand years of cannibalism bearing down upon” (31) him.

In an ending which parallels Macbeth, Lu Xun’s madman surrenders to the all-consuming cannibalistic heritage of bygone feudalism, which usurps his village. He realises that he has gone so far into his mania – spurred by his vandalism of documents pertaining to his country’s history – that returning would be pointless. Despite his fleeting uprising, which was dismissed as insanity, he will never be truly human. As a child, he ate his little sister: the reader discovers that the madman himself is a cannibal.

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