Tag Archive: Black History Month
Comments Off on Cotton Connection: Black History Month
This blog is one of a series looking at our collections and our shared histories as part of Black History Month.
This guest blog was written by Matthew Dean who has created The Cotton Connection a series of podcasts which will be released early next year.
I was born in Oldham in 1978 and I’m proud of my Oldham roots. I live in Dublin now, I migrated in 2011. My grandmother moved from Italy in 1947 to marry my grandad, they met in her hometown of Schio at the end of World War Two. Their story is a beautiful tale for another day, but I’ve always been fascinated by the romance of it.
From childhood I was inspired by the courage of my grandmother, the youngest of eight children, who left a large, loving family for a strange, wet and smoky industrial town like Oldham. She was a migrant.
Like most people over lockdown, I spent a lot of time scrolling my social media feeds and following the news of Covid, BLM protests, Trump, Johnson and Brexit. I lost my job and I had a lot of time to reflect as I watched some of America and Britain’s deepest wounds begin to open. Toxic politicians on both sides of the Atlantic are stirring up racial tensions by perpetuating politically motivated, xenophobic lies, encouraging the rise of far right groups, who choose migrants and minorities as easy targets and distractions which often mask ulterior motives. There’s no doubt that this is a hugely important time in modern history, where democracy itself is in the balance and we are here because, rather than learning from our history, we’ve chosen to ignore it.
The fact of the matter is, that Lancashire mill towns like Oldham were built on the profits of slavery. No slavery, no cheap cotton, no Oldham as we know it. I realised over lockdown that the legacy of colonial Britain, enslaved Africans and unchecked abuses of capitalism which play out on the streets of America today, are directly connected to the town I call home. The football team I support was founded in a mill, which was built on the profits of the slave trade. It’s all connected. We’re all connected.
I decided upon the idea to create a podcast, which will explore the backstory story that connects stolen Africans and the American South to the English North West, it’s time to face our history head on. I’m delighted that the people at Gallery Oldham have agreed to help me. I’m no historian, just someone who realises that every family has a backstory and that migration happens for all kinds of reasons to all kinds of people. Oldham is literally built on it. It is my hope that by exploring our history, honestly and with a better understanding of the story of our town, we can have a deeper empathy for each other and overcome the will of those whose aim is to divide us for their own gains.
The Cotton Connection will be available on all your usual podcast platforms early next year. Click on the link below to hear a short trailer.
You can read more blogs celebrating Black History Month by visiting our blog page (opens in a new window).
Comments Off on Legacies of Biafra
This blog is one in a series looking at our collections and our shared histories as part of Black History Month.
Our plan was that from September this year we would be showing Legacies of Biafra, an exhibition of artists’ responses to the 1976-1970 Nigeria-Biafra War. This has had to be postponed due to the current pandemic. We will announce new dates once they are confirmed, but in the meantime, Gallery Oldham art curator Rebecca Hill talks to independent curator Louisa Egbunike and Nigerian Art Society UK president Hassan Aliyu about the exhibition…
Rebecca Hill (RH): Hi Louisa and Hassan. Thank you for agreeing to talk to us for the blog. I’m sorry that we’re not chatting together in the gallery, but I look forward to the day when we can do that….
- Firstly, please can you give our readers a brief introduction to the exhibition. How many artists are in the show? What sort of work can people expect to see?
In 2014 in the UK, commemoration for the centenary of World War I was embedded in various aspects of our lives. From commemorative coins, to TV programmes, exhibitions and installations, there was a concerted effort to remember this important historical event. It made me think of the importance of creating site of remembering, both to reflect and learn from the past and to make plans for the future. This sparked a series of conversations between myself and members of NASUK, thinking about how we could work together to produce an exhibition that did exactly this. The Legacies of Biafra exhibition is wide ranging, including installations, paintings, documentary films, music, oral histories, photography, books and memorabilia from the war. The works from NASUK engage with the war itself, as well as the ongoing impact of the war.Louisa Egbunike
- This exhibition has been arranged in collaboration with the Nigeria Art Society UK. Please can you tell us a little bit about the society.
The idea of a collective of Nigeria artists working in the UK originated in 1992. Then named Society of Contemporary Nigerian Artists (SCNA), our objectives were ratified by the academic committee of the Federation of British Artists (FBA) who also approved our exhibition proposal at the Mall Gallery, London in 1993. We reconstituted as the Nigeria Art Society UK in 2013. The Society’s core objective is to continue to raise the profile of established Nigerian artists’ work as well as support the new generation of emerging Nigerian diaspora artists.Hassan Aliyu
- Louisa Egbunike is an independent researcher and curator, and has curated this exhibition. Have you all worked together on previous projects, and if not can you tell me how this partnership between NASUK and Louisa came about?
Hassan and Chike Azuonye (vice president of NASUK) attended a memorial lecture I had organised for the Nigerian author Chinua Achebe who passed away in 2013. We began a discussion around collaborating on an exhibition, which would engage with Achebe’s body of works. As I am an academic whose research is in African literature, I was excited about this collaboration. As my research moved into Nigeria-Biafra war literature, I asked Hassan and Chike if NASUK would be interested in collaborating on an exhibition focussing on the Nigeria-Biafra war and they were. Some NASUK members, such as Chike, had lived through the war and so this exhibition was deeply personal for many.Louisa Egbunike
- Some of our audiences will have been living in Nigeria/Biafra between 1967-1970. Others will remember seeing the horrifying images on television in the late 1960s. Some may not know much or anything about the war. Presumably it’s a bit much to ask to give even a basic outline of the war in one paragraph, but are you able to direct us to any good resources for learning about it?
Several books have been written about the Nigeria / Biafra war – however it remains a taboo subject for discussion. It is therefore our aspiration that through the Legacies of Biafra touring exhibition, we can influence the mindset by creating a space where such a conversation can be had peacefully. A number of these titles are included in the Legacies of Biafra exhibition which also includes other resources for learning about the war.Hassan Aliyu
In terms of literature, Chimamanda Ngozi Adichie’s novel Half of a Yellow Sun, is probably one of the most celebrated recent works on the war. During the war, the celebrated poet Christopher Okigbo, put down his pen and picked up a gun, sadly losing his life. In his collection of poems Path of Thunder there are a series of poems written in the mid-1960s prophesising the war, as tensions were rising in in the country. Christopher Okigbo’s daughter Obi Okigbo is an artist and a member of NASUK, and her work in this exhibition engages with her father’s poetry to open a conversation about conflict and the need for healing.Louisa Egbunike
- There’s a really wide range of artists in the exhibition, some of whom experienced the war directly, and some who were born long after it ended. Your show has been praised for including artists from different ethnic groups who fought on opposite sides in the war. I assume this was a conscious decision – was it difficult to put together an exhibition which feels “balanced” about such an emotive subject?
Emotions were at a fever pitch among some NASUK members, about doing the Legacies of Biafra exhibition. Several members chose to not participate in this exhibition that would showcase the most significant event in the history of our nation – yet they participated in the NASUK Nigeria@100 centenary exhibition in London. As we deliberated over Legacies of Biafra, the Indigenous People of Biafra (IPOB) and Movement for the Actualisation of the Sovereign State of Biafra (MASSOB) were at their most active – their uncompromising stance on the secession of Biafra was perhaps the reason that a number of our artists opted out of the show. There were also cases of people being persecuted in Nigeria for identifying with or engaging in discussions on Biafra. The diversity of artists in the exhibition is a reflection of the membership of our group as well as work by guest artists whose extensive engagement with the theme of the war is long acknowledged.Hassan Aliyu
- Hassan – is this the first time that you have engaged with this subject via your art, or is it something which you have felt you wanted to explore previously?
My art has delved on the themes of tribalism and racism for several decades and it is my ardent belief that the Nigeria Civil War was caused by both factors that lead all the way back to the European trade in African captives, imperialism and policy of divide and rule.Hassan Aliyu
Thank you both very much for sharing your thoughts. We haven’t got much time/space to go into lots of detail here but we will be sharing more information via our social media channels during October and once the show opens next year. Thank you very much for giving us your time to talk about this exhibition, Louisa and Hassan.
Comments Off on Black History Month: Fighting to end apartheid
We’re marking Black History Month throughout October by high-lighting collections and great stories held by Gallery Oldham and Oldham Local Studies and Archives. This week we’re taking a look at the fight to end apartheid.
The Oldham Anti-apartheid Group was set up in 1986. It was just one branch of the international network which was established to inform people about the systemised segregation and oppression of black people in South Africa. It was affiliated nationally to the Anti-apartheid Movement and worked in conjunction with other local groups.
Our collections hold the archives of this group along with a selection of objects such as badges, tee-shirts and a banner. They were donated to us in 1994 after free elections were held in South Africa and the group made the decision to disband. It was a successful end to a long campaign and by donating their archive to us they ensured that its story could be told to future generations.
The group had two main functions. Firstly it campaigned to raise awareness of the issues surrounding the apartheid system in Oldham. To do this the group held regular stalls in Oldham town centre. Secondly it raised money to support the anti-apartheid cause. These regular fund-raising activities included events such as sponsored walks, car boot sales, raffles, social evenings with live music and quizzes.
A large part of the campaign was the consumer boycott of South African produce. Often the group used their own local knowledge to tailor national campaigns to circumstances in Oldham. For instance the Oldham group held pickets at various local businesses in Oldham with links to South Africa. These included Argos (for selling South African gold jewellery) and Thomas Cook travel agent (for selling South African holidays).
If you have memories of being involved in this campaign we are always interested in collecting further stories, images and objects from the local campaign against apartheid.