Black British Migrants in Cuba: Race, Labor, and Empire in the Twentieth-Century Caribbean, 1898–1948 by Jorge L. Giovannetti-Torres

2021 ◽  
Vol 49 (1) ◽  
pp. 173-176
Author(s):  
Marc McLeod
Keyword(s):  
Twentieth Century ◽  
Black British

scholarly journals Black Women's Groups, Life Narratives, and the Construction of the Self in Late Twentieth-Century Britain

2021 ◽  
pp. 1-21
Author(s):  
Jessica White
Keyword(s):  
Twentieth Century ◽  
Sense Of Self ◽  
Black Female ◽  
Black Liberation ◽  
Female Self ◽  
Black British ◽  
Late Twentieth ◽  
Self Discovery ◽  
White Gaze ◽  
Late Twentieth Century

Abstract Black British women's centres and groups evolved out of black women's combined exclusion from male-dominated anti-racist activism and the resurgent feminist movement of the late 1960s. And yet, despite their stable presence in many of Britain's inner cities, black women's centres and groups, and the lives of the women who forged them, have evaded historical interrogation. This article explores how black women's centres provided women with the space and time to nurture their personal experiences of sexism and racism, achieve a sense of self-sufficiency, and celebrate their heritage, which placed every member on a path towards self-discovery. This centring of the black female self was not, as black male activists believed, set on undermining the Black liberation movement, but was considered as a vital tool in the overarching mission to defeat white global supremacy. Drawing on a collection of oral history interviews, this article explores how black female activists constructed a sense of self that turned away from the homogenizing white gaze of post-war Britain. Teasing out the complexities around black female activism, selfhood, and memory, this article contributes substantially to the growing body of literature on late twentieth-century black British history.

Genealogy and the Black Past

2020 ◽  
pp. 331-342
Author(s):  
Kathleen Chater
Keyword(s):  
Twentieth Century ◽  
Black People ◽  
Local History ◽  
Common Goal ◽  
Field Of Study ◽  
Public Records ◽  
Black British ◽  
Funding Sources ◽  
The Creation

In this chapter, Kathleen Chater, an independent historian, enumerates many of the local history projects and academic efforts that have attempted to collect evidence of black lives in pre-twentieth-century Britain, often resulting in the creation of databases and digitized records. She describes the overlapping incentives and challenges of family historians and scholars who work to illuminate black British experiences, but also the mistrust between these groups as they compete for funding and undervalue aspects of each other’s work. Chater describes her own contribution to this field of study—a database of black people she has amassed using public records as part of her doctorate which she has continued to add to. Finally, Chater makes recommendations for how genealogists and local historians can work better with academic scholars toward their common goal including inviting each other to conferences, sharing knowledge of potential funding sources, and asking academics to share their work at smaller, local venues and via more accessible publications.

‘Know Whence You Came’: Dramatic Art and Black British Identity

2007 ◽  
Vol 23 (3) ◽  
pp. 253-263 ◽  
Author(s):  
Kwame Kwei-Armah
Keyword(s):  
Twentieth Century ◽  
Considerable Influence ◽  
Theatre History ◽  
British Identity ◽  
National Theatre ◽  
Black British ◽  
Center Stage ◽  
History Of

Kwame Kwei-Armah's play Elmina's Kitchen was a landmark in British theatre history as the first drama by an indigenous black writer to be staged in London's commercial West End. The play's success since its premiere at the Royal National Theatre included a national tour and a season at Center Stage, Baltimore, directed by August Wilson's director Marion McClinton. In this interview with Deirdre Osborne, Kwei-Armah testifies to Wilson's considerable influence and the inspiration he derives from Wilson's project to account for the history of black people's experience in every decade of the twentieth century. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lemn Sissay, SuAndi, and Roy Williams.

Some Yesterdays Always Remain

2017 ◽  
Author(s):  
Ben Macpherson
Keyword(s):  
Twentieth Century ◽  
Middle Class ◽  
Musical Theatre ◽  
Black British ◽  
Early Twentieth Century ◽  
White Middle Class ◽  
Theatre Companies

This chapter explores the current landscape of black British and Anglo-Asian musical theatre, in both the commercial and subsidized sectors. Finding parallels in early twentieth-century British performance histories, the chapter suggests that popular commercial definitions of ‘hybrid’ musical theatre works such as Bombay Dreams (2002) or Bend It Like Beckham (2015) are almost always mediated and received through a lens that is coloured by white middle-class concerns. Yet, while the mainstream musical is showing definite signs of change in its performance of multiculturalism, it is primarily because of the work of Off-West End producing houses (for instance the Theatre Royal Stratford East) and theatre companies (such as Nitro) that many of the productions representing contemporary experiences of diaspora communities in Britain are staged.

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