scholarly journals Sources: The Oxford Companion to Black British History

2007 ◽  
Vol 47 (2) ◽  
pp. 185-185
Author(s):  
Brent D. Singleton
2020 ◽  
pp. 1-31
Author(s):  
MEGAN HUNT ◽  
BENJAMIN HOUSTON ◽  
BRIAN WARD ◽  
NICK MEGORAN

This article examines how Martin Luther King Jr. and the movement with which he is often synonymous are taught in UK schools, as well as the consequences of that teaching for twenty-first-century understandings of Britain's racial past and present. The UK's King-centric approach to teaching the civil rights movement has much in common with that in the US, including an inattention to its transnational coordinates. However, these shared (mis)representations have different histories, are deployed to different ends, and have different consequences. In the UK, study of the African American freedom struggle often happens in the absence of, and almost as a surrogate for, engagement with the histories of Britain's own racial minorities and imperial past. In short, emphasis on the apparent singularity of US race relations and the achievements of the mid-twentieth-century African American freedom struggle facilitates cultural amnesia regarding the historic and continuing significance of race and racism in the UK. In light of the Windrush scandal and the damning 2018 Royal Historical Society report on “Race, Ethnicity and Equality in UK History,” this article argues both for better, more nuanced and more relevant teaching of King and the freedom struggle in British schools, and for much greater attention to black British history in its own right.


2021 ◽  
Vol 74 (4) ◽  
pp. 56-61
Author(s):  
James S. Williams

This article explores how Steve McQueen’s acclaimed 2020 pentalogy Small Axe (BBC) appears paradoxically to swerve away from Black British history in the very act of retrieving it. By examining key moments in Mangrove, Red, White and Blue, and Alex Wheatley, it argues that the constant tension between a push toward history and the pull of the aesthetic is the result of McQueen’s reformulation of “racial uplift” aesthetics that privileges exceptional acts over collective experience. Yet in striking contrast to his poetic license with history, McQueen presents Black masculinity and male self-expression within standard social and sexual norms. There are, however, more experimental, stylized moments in Small Axe where the historical and the aesthetic come together, notably in the highly physical dancing sequences of Lovers Rock. While not without limitations, such scenes reveal fresh, liberatory forms of Black space and time, and forge transformative and redemptive moments of Black reality.


Race & Class ◽  
2021 ◽  
Vol 62 (3) ◽  
pp. 88-101
Author(s):  
Jasbinder S. Nijjar

In this contribution to narrating the black British history of struggle, one of the leading lights of community-based anti-racism, who has worked over four decades from Southall, west of London and one of the first post-war settlements of ‘New Commonwealth’ Asian workers, is interviewed. He records some of the milestone struggles of The Monitoring Group from the street campaigning against lethal racist violence in the 1970s to the nationally important watershed government-commissioned report by Macpherson acknowledging institutional racism in 1999. Suresh Grover explains the impetus for organising, and the ways of building an anti-racist, anti-imperialist, anti-patriarchal movement around and beyond family campaigns against state injustices – changing over time to meet new circumstances.


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