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Journal articles on the topic 'British black identity'
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1
JOHNES, MARTIN, and MATTHEW TAYLOR. "BOXING, RACE, AND BRITISH IDENTITY, 1945–1962." Historical Journal 63, no. 5 (February 14, 2020): 1349–77. http://dx.doi.org/10.1017/s0018246x19000724.
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AbstractWith a formal colour bar on British championships operating until 1948, boxing had long been a site of racial discrimination. The abolition of the sport's colour bar was recognition of the wrongness of racial exclusion and it was followed by a celebration of black fighters as local and national heroes. The sport became a rare space where black men could be spoken about, discussed, and celebrated without primary reference to their colour. However, race was never irrelevant, especially as the number of black boxers rose with wider patterns of migration. Race was thus widely discussed in boxing, although there was rarely open discussion of racism. This absence, along with black successes in the ring, masked deep levels of both structural and interpersonal prejudice. Racial differences remained accepted as common sense by white Britons. Indeed, immigration intensified racism in Britain, changing the perceived position of people of colour from exotic novelties to threats to society. Boxing is thus a reminder of the contradictory dynamics of race. Formal mechanisms of exclusion could be removed, while informal mechanisms intensified. Individuals could be celebrated, while people of colour as a group were looked down upon. Black achievements could simultaneously reinforce ideas of black inferiority.
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Wrenn, Andrew. "Black and British? History, Identity and Citizenship." History Education Research Journal 3, no. 1 (January 1, 2003): 69–73. http://dx.doi.org/10.18546/herj.03.1.08.
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Lilyana, Sandra. "THE DISRUPTION OF HOME AND IDENTITY IN BLACK BRITISH WRITING." Kajian Linguistik dan Sastra 19, no. 2 (March 25, 2015): 112–20. http://dx.doi.org/10.23917/kls.v19i2.4424.
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As people of the diaspora, most Black British writers have long been troubledand fascinated by the ideas of ‘home’ and ‘identity.’ A lot of their works present asense of not belonging anywhere and a quest for a new kind of identity not limitedto national boundaries. Such issues are portrayed most clearly in Buchi Emecheta’snovel, Kehinde, where the protagonist’s conception of ‘home’ and ‘identity’ is disruptedbetween Nigerian and British and how she ends up creating a new and morefluid identity for herself.
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Diawara, M. "Black British Cinema: Spectatorship and Identity Formation in Territories." Public Culture 3, no. 1 (October 1, 1990): 33–48. http://dx.doi.org/10.1215/08992363-3-1-33.
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Kwei-Armah, Kwame. "‘Know Whence You Came’: Dramatic Art and Black British Identity." New Theatre Quarterly 23, no. 3 (August 2007): 253–63. http://dx.doi.org/10.1017/s0266464x07000152.
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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.
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Shrestha, Ravi. "Double Consciousness in Hanif Kureishi’s The Black Album." Curriculum Development Journal 29, no. 43 (December 1, 2021): 155–62. http://dx.doi.org/10.3126/cdj.v29i43.41086.
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This article throws light on the issue of identity and Double Consciousness which creates traumatic effects on the psyche, identity and culture of Shahid, the representative of South Asian Immigrants depicted in Hanif Kureishi’s The Black Album in Britain. In The Black Album, Shahid is depicted as a South Asian British Muslim who looks at himself from the eyes of the White British and he finds two-ness in himself, which is similar to W. E. B. Du Bois’ theory of Double Consciousness that “is the sense of always looking at one’s self from the eyes of others” (2). So, the article reveals the double consciousness of Shahid, the protagonist who carries hybrid identity for having British White mother and Pakistani Muslim father. Because of being a South Asian Muslim immigrant living under the hegemony of White Supremacy in Britain, he experiences Double Consciousness, which causes his inferiority complex, lack of self-esteem, rootlessness, in-betweenness and fragmentation of identity. Thus, the article deals with the Double Consciousness within the binary opposition between the East and West, Islamic Fundamentalist and Western Liberalism, and Pakistani Identity and British Identity. According to the theorists Homi Bhabha, Edward Said and Frantz Fanon, the colonized people who become immigrants in the postcolonial era suffer from identity crisis and double consciousness as they face segregation, racism, discrimination and various other forms of Othering.
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Olofinjana, Rev Israel Oluwole. "Reverse Mission: Towards an African British Theology." Transformation: An International Journal of Holistic Mission Studies 37, no. 1 (October 23, 2019): 52–65. http://dx.doi.org/10.1177/0265378819877902.
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This article explores reverse mission as practised by African Christians in Britain. The main research question is what crucial role does African identity play in African mission in Britain and how does that lead towards developing African British theology? It is argued that such a theology will help African Christians in Britain be affirmed in their cultural identity whilst at the same time reach beyond African communities in their mission engagement. African British theology is related to Black British theology in that they both take the black experience seriously for theological reflection. However, African British theology is also distinct in that it seeks to understand African identity and mission in a postmodern multicultural British society. My research methods have been as an African Practical Theologian involving active participation as well participant observation. My approach has been interdisciplinary engaging the fields of practical theology, diaspora missiology, African theology and Black theology.
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Kundu, Anwesha. "British but not a Briton: Anglophilia and Black British Identity Formation in E. R. Braithwaite." ariel: A Review of International English Literature 54, no. 3-4 (July 2023): 99–125. http://dx.doi.org/10.1353/ari.2023.a905711.
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Abstract: This essay re-examines Anglophilia, a quintessential conservative colonial affect, to illustrate how emotional structures that function as modes of psychic colonialism can concurrently produce unanticipated effects. E. R. Braithwaite's best-selling autobiographical novel, To Sir, With Love (1959), is a Windrush account of a Black, middle-class, Caribbean immigrant's life in Britain that, largely due to its explicit Anglophilia, has not garnered much critical attention within a conventional postcolonial framework. I use affect studies to read this text's Anglophilic affiliations as a complicated process of Black diasporic identity formation that questions the simultaneity of race and national belonging. British identity in the mid-twentieth century was understood in highly emotive, racialized terms—such as "civilized," "Christian," or "advanced"—that stood in for explicit references to whiteness. This structure had the effect of appearing to separate Britishness from whiteness in discourses about race and nationality, thus creating a space within which Braithwaite could imagine the possibility of being a Black Briton. Braithwaite's text reveals Anglophilia to be a complex affective structure that, while being invested in ideas of morality, nation, and civilization, can also unexpectedly destabilize prevalent social norms (while reinforcing others) as it participates in the process of denaturalizing automatic assumptions of racial superiority.
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Mbah, Ndubueze L. "The Black Englishmen of Old Calabar." Radical History Review 2022, no. 144 (October 1, 2022): 45–75. http://dx.doi.org/10.1215/01636545-9847802.
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Abstract This article recovers the Afropolitan histories of Liberated Africans by examining their mobility and freedom politics. Liberated Africans enacted Afropolitanism when they returned from Sierra Leone to Old Calabar and fashioned themselves into Black Englishmen. Their Afropolitanism incorporated a dissident mode of Anglo-cosmopolitanism, thereby undermining orthodox British visions of imperial subjecthood. In using petitions to British authorities to assert their identity as British subjects, they secured their precarious freedom but challenged British monopoly of the Bight of Biafra’s transatlantic palm oil trade. Rather than being mere recipients of abolition, Liberated Africans refashioned abolition. They used forged “freedom papers” to emancipate, repossess, and traffic slaves from Old Calabar society while defending their behavior as “redemption” of slaves. Contrary to imperial fixity of African subjects, Liberated Africans evinced an Afropolitan vision of belonging. They simultaneously claimed to be natives of Sierra Leone and Old Calabar. Their contradictory ideologies and practices mitigated their marginality and confounded African elites and British imperial agents.
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Green, Venus. "Race, Gender, and National Identity in the American and British Telephone Industries." International Review of Social History 46, no. 2 (August 2001): 185–205. http://dx.doi.org/10.1017/s0020859001000141.
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This article compares the racially heterogeneous, privately-owned American telephone industry, and the relatively homogeneous, publicly-owned British system, to examine how race and gender constructions implicit in the national identities of the two countries influence employment opportunities. For all the differences in the histories of the two telephone industries and variations in the construction of racial, national, and gender identities, blacks in the United States and Britain had remarkably similar experiences in obtaining employment as telephone operators. This leads to the conclusion that the power of national identity in the workplace is strongly based on “whiteness”. Despite their limited access to national identity, white women experienced advantages that were denied to black women, which illustrates how race modified the impact of gender on the privileges of national identity.
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Šuster, Lana. "Izgubljeni identitet ingrid pollard čitanje fotografija." Danubius Noster 10, no. 3 (2022): 173–84. http://dx.doi.org/10.55072/dn.2022.3.173.
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Ingrid Pollard is a British artist whose art photographs try to emphasize the identity of the black population in an environment to which she does not belong. Through lines of identity visual art, she introduces the viewer to a story that has been evolving for years in her world. Intertwining and emphasizing Otherness through the detailing of black life confirms the question of „Who are you?“, and the meaning lies in the artist’s depictions in the vastness of British landscapes. The paper will show the disability of identity through photographs of the Pastoral Interllude collection and try to compare Bauman’s theory of non-belonging to the real environment and the constant striving for a fixed identity. As a starting point for this work, works of art created in the twentieth century depicting portraits of blacks in the everyday situations of British streets and outdoor natural spaces. The historical background of two lost identities that create their selves through life. The visual arts of the time took the space of deliberately emphasizing the original identity through depictions of artistic photography, especially portraits. The anti-essentialist direction will be proven by deliberate shots of photography in environments that are not specific to the time in which Ingrid Pollard’s identity remained trapped. National identity in the photographic world will be highlighted by Ingrid Pollard faithfully portraying the social visual cues that produce the image of a nation and fully embracing character, while reviving the idea that photography is a transmitter of identity.
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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.
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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.
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Gerke, Amanda Ellen. "Discursive Boundaries: Code-Switching as Representative of Gibraltarian Identity Construction in M.G. Sanchez’ Rock Black." Miscelánea: A Journal of English and American Studies 57 (December 16, 2018): 35–57. http://dx.doi.org/10.26754/ojs_misc/mj.20186321.
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The British overseas territory of Gibraltar situated on the southern tip of the Iberian Peninsula has a population of 30 000 people with a variety of ethnic origins, languages, history, and political affiliations. The recent upsurge in Gibraltarian literature has served not only to draw attention to the dynamic and multifaceted nature of their identity but also to help in the task of identity construction on the part of the Gibraltarians themselves; there is an observable push and pull of affiliation not only in Gibraltar’s cultural artifacts, but also in its language. This article identifies the ways in which code-switching in M.G. Sanchez’ Rock Black represents the Spanish-British conflict, and views language choice as a tool in the construction of group-identity among contemporary Gibraltarians.
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Weedon, C. "Migration, Identity, and Belonging in British Black and South Asian Women's Writing." Contemporary Women's Writing 2, no. 1 (June 1, 2008): 17–35. http://dx.doi.org/10.1093/cww/vpn003.
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Sampson-Choma, Tosha. "Performing Black British Male Identity in Andrea Levy’s Fruit of the Lemon." CLA Journal 61, no. 1-2 (2017): 84–94. http://dx.doi.org/10.1353/caj.2017.0031.
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Van Arkadie, Raphael. "Reactivating Decoloniality in Black British Research-Activism." Bandung 11, no. 1 (February 26, 2024): 218–42. http://dx.doi.org/10.1163/21983534-11010006.
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Abstract This article presents a reflection on the reactivation of decolonial theories and concepts through a research-activist project and perspective. The work is based on qualitative research carried out during my master’s degree at the University of Bristol. It places itself between Bristol’s Black communities and their relationship with an ontology of Whiteness enforced by White institutions. By using the concept of ‘acting white’ (Fordham 2008), and reflecting on my own movement between Black and White spaces, I address this ontological struggle both as a member of the Bristol Black community as well as through my role as a researcher. I use my position as a way of reflecting more deeply on the movement between White and Black spaces, how this engages our longer history of decolonial activism, and what this means for mitigating the imposition of the ontology of Whiteness on my own research and role in my community. This research, which followed the Black Lives Matter (blm) protests of 2020, took place in a context of renewed engagement with decolonisation, and heightened awareness of the conditions of Black spaces for those within the Bristol community, which are brought into the discussion surrounding Black identity and community in the UK and Bristol.
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King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.
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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in
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Yang, Jiaxin. "Celebrating the Ambivalent Britishness: Reading Andrea Levy’s Small Island (2004) from Bakhtin’s Carnival Theory." British Journal of Translation, Linguistics and Literature 3, no. 3 (September 30, 2023): 02–12. http://dx.doi.org/10.54848/bjtll.v3i3.66.
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Small Island (2004) is British Jamaican writer Andrea Levy’s representative work. By focusing on two British White and Black couples’ experiences before and after WWII, the author reexamines the so-called canonical Britishness and subverts the myth of the British Empire. Based on Bakhtin’s carnival theory, this paper analyzes the process of the Windrush generation’s identity construction after the 1948 British Nationality Act. This paper argues that Small Island is a post-WWII carnival celebrating the ambivalent national identity wherein the traditional Britishness is challenged through the characters’ ridiculous experiences, the mocking language toward self and other, and their efforts into claiming space in Mother country. By doing so, the Windrush generation breaks the homogeneous national identity while endowing Britishness with new meanings and celebrating the forthcoming exclusive society.
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Ossowska-Czader, Małgorzata. "The Rushdie Affair – Politics, Culture and Ethnicity in Hanif Kureishi’s The Black Album." Politeja 12, no. 8 (31/2) (December 31, 2015): 11–26. http://dx.doi.org/10.12797/politeja.12.2015.31_2.02.
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The aim of this paper is to show how politics, culture and ethnicity interweave in the context of the Rushdie Affair in both the real‑life dimension of the historical events taking place in the late 1980s, as well as the literary dimension of the novel by Hanif Kureishi entitled The Black Album. The paper briefly outlines the Rushdie Affair as it unfolded in the British public sphere with particular emphasis placed on the process of consolidation of the Muslim identity among the representatives of different ethnic groups in Great Britain in the political and cultural context of the event which is deemed to be defining from the point of view of British Muslims. The author of the paper presents the profile of Hanif Kureishi, to indicate why he is ideally positioned to look critically at both sides of the conflict. The paper analyses the novel itself insofar as it examines the implications of the Rushdie Affair depicted in The Black Album, the reactions of the second‑generation immigrants of Pakistani descent in the face of the controversy, the influence this event exerted on the process of their searching for identity as well as their integration into British society. Two opposing identity options taken up by the protagonists of The Black Album are analysed by the author of the paper.
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Hunt, Stephen, and Nicola Lightly. "The British black Pentecostal `revival`: identity and belief in the `new` Nigerian churches." Ethnic and Racial Studies 24, no. 1 (January 2001): 104–24. http://dx.doi.org/10.1080/014198701750052523.
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Walsh, James J. "The Multidimensional Inventory of Black Identity: A Validation Study in a British Sample." Journal of Black Psychology 27, no. 2 (May 2001): 172–89. http://dx.doi.org/10.1177/0095798401027002002.
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Farsooni, Lélia Tavakoli. "Beyond the Pastoral Paradise: Orienting Black and Muslim People in British Rural Space." Journal of British Cinema and Television 20, no. 4 (October 2023): 436–59. http://dx.doi.org/10.3366/jbctv.2023.0686.
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While there is an increasing number of Black and Muslim stories in urban settings, cultural imaginations of the British rural as linked to whiteness are pervasive. Despite there being a long-established presence of Black and Muslim people in British rural areas, their bodies are excluded or made to disappear to make the rural and, by extension, the nation (supposedly) safe. Drawing on Sara Ahmed’s notion of white habit worlds, this article explores the specific ways in which popular imaginations of rural spaces in the UK orient Black and Muslim bodies in relation to rurality. I will argue that whiteness as the racialisation of the pastoral form is closely imbricated with the Christian pastoral notion of Eden by close reading season five of the TV crime drama Shetland, the feature film Four Lions (2010) and the documentary Arcadia (2017). By asking how these configure British rural space through their orientation of Black and Muslim bodies and how they contest or reinforce the (lack of) belonging of bodies considered ‘non-white’/‘non-Christian’ in rural spaces, I inquire how these productions complement each other in what they have to say about the presence of Black and Muslim bodies in British rural space and how this relates to wider debates about immigration and national identity.
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Palmer, Lisa Amanda. "Diane Abbott, misogynoir and the politics of Black British feminism’s anticolonial imperatives: ‘In Britain too, it’s as if we don’t exist’." Sociological Review 68, no. 3 (December 6, 2019): 508–23. http://dx.doi.org/10.1177/0038026119892404.
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This article argues that it is remiss to understand the acute intensification of White supremacist politics in contemporary Britain without paying close attention to how this racism is inherently gendered and sexualised. This will be discussed in relation to the gendered racism of ‘misogynoir’ as experienced by the British Member of Parliament Diane Abbott. The article uses Shirley Anne Tate’s powerful analysis of the Sable-Saffron Venus in the English imaginary to argue that forms of British, and more explicitly English, national identity have been worked out on the back of systemic efforts to erase the material and epistemic presence of Black women in Britain from the British body politic. It further argues that the politics of erasure extends to the epistemic elision of Black British feminist theorising within the field of social theory. What then are the consequences and interplay of both the lived and epistemic acts of violence? I explore these issues by mapping Black British feminism’s anticolonial politics to argue that we should bring this tradition to bear in our analysis of this most recent iteration of racism in our contemporary times.
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Mertania, Yanggi, and Dina Amelia. "Black Skin White Mask: Hybrid Identity of the Main Character as Depicted in Tagore's The Home and The World." Linguistics and Literature Journal 1, no. 1 (June 29, 2020): 7–12. http://dx.doi.org/10.33365/llj.v1i1.233.
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This research paper describes the analysis of a literary work entitled The Home and The World by Rabindranath Tagore. This novel illustrates Tagore’s inner battle about his ideas on the Western culture and on the revolution against Western culture when India was colonized by the British. These ideas portrayed in one of the main characters, Nikhil. Tagore represents himself as Nikhil, the hybrid, who is positioned between British and Indian cultures. The main purpose of this research is to describe the hybrid identity of Nikhil as one of the main characters in the novel within the context of colonized society and the Swadeshi movement. This research applied the post-colonial approach and hybrid identity theory by Homi. K. Bhabha and also applied the descriptive qualitative method to depict the problem by using the words. Library research was applied in the context of the data collecting process. The data are dialogues and narrations about the hybrid identity of Nikhil in The Home and The World novel. Based on the research conducted, it was concluded that the impact of British colonialism led to the formation of a hybrid identity process in Indian society. First, there was a hybrid identity of Nikhil as a part of the colonized society in education, lifestyle, culture, and social aspects. The second was the hybrid identity of Nikhil in the Swadeshi movement.Keywords: Black skin white mask, colonialism, hybrid identity, post-colonial, rabindranath tagore, swadeshi movement, the home, and the world.
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Elbir, N. Belgin. "DECOLONIZING THE IMPERIAL CENTRE: IMAGES OF LONDON IN BLACK BRITISH POETRY." Годишник на Шуменския университет. Факултет по Хуманитарни науки XXXIIIA, no. 2 (November 10, 2022): 392–402. http://dx.doi.org/10.46687/jmmk5254.
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This article examines the imaginative decolonization of London by black British colonial and postcolonial poets since the early twentieth century. After explaining the place and role of London as occupying a significant place in the relations between poetry and decolonization, the article engages with the work of selected black British poets who arrived from (post)colonial countries in London prior to and during the period of formal decolonization following the Second World War, and their descendants writing in the late century. The aim of the article is to explore, in the light of cultural theorist Stuart Hall’s theorizing and understanding of cultural identity, how these poets have imaginatively represented and re-constructed the British metropolis as a location of resistance and change, and articulated their sense of migrant, diasporic and transcultural identities.
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Dalal-Clayton, Anjalie. "Sonia Boyce." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 62–73. http://dx.doi.org/10.1215/10757163-7916868.
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The British artist Sonia Boyce was a central figure in the British Black Arts Movement and has in recent years achieved widespread critical acclaim within the field of British art. Although she is now known for her performative and collaborative approach to art making, she began her career making figurative oil pastel and charcoal portraits that have become synonymous with black artistic practices of the 1980s. This article presents a new reading of three of these iconic portraits—Auntie Enid–The Pose (1985), Missionary Position II (1985), and Big Women’s Talk (1984). The new reading respects, but diverges from, previous interpretations that have typically focused on representations of black domestic life and the politics of identity. Taking direction from several interviews with the artist, including one conducted by the author in 2015, the article uses a formal analysis to propose the hitherto unacknowledged or under-appreciated interplay with modernism and other art movements within the three artworks in question.
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Adebayo, Mojisola, Valerie Mason-John, and Deirdre Osborne. "‘No Straight Answers’: Writing in the Margins, Finding Lost Heroes." New Theatre Quarterly 25, no. 1 (February 2009): 6–21. http://dx.doi.org/10.1017/s0266464x09000025.
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Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance, representing an Afro-Queer diasporic heritage through the specific experience of being black, British, and lesbian. Creating continuities from contorted or erased histories (personal, social, and cultural), their drama demonstrates both Afro-centric and European theatrical influences, which in Mason-John's case is further consolidated in her polemic, poetry, and prose. Like Britain's most innovative and prominent contemporary black woman dramatist, debbie tucker green, they reach beyond local or national identity politics to represent universal themes and to centralize black women's experiences. With subject matter that includes royal families, the care system, racial cross-dressing, and global ecology, Adebayo and Mason-John have individually forged a unique aesthetic and perspective in work which links environmental degradation with social disenfranchisement and travels to the heart of whiteness along black-affirming imaginative routes. 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, Lennie James, Lemn Sissay, SuAndi, and Roy Williams. She is the editor of Hidden Gems (London: Oberon Books, 2008), a collection of plays by black British dramatists.
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Nyman, Jopi. "Sonic Borderscapes: Popular Music, Pirate Radio, and Belonging in Black British Writing in the 1990s." Anglia 136, no. 3 (September 6, 2018): 468–81. http://dx.doi.org/10.1515/ang-2018-0048.
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Abstract This article addresses the role of music and broadcast radio as elements in the construction of borderscapes, spaces of cultural construction and identity negotiation, in three black British novels published in the 1990 s, namely Diran Adebayo’s Some Kind of Black (1996), Karline Smith’s Moss Side Massive (1994/1998), and Courttia Newland’s Society Within (1999/2000). The article argues that the novels use black popular music and pirate (community) radio stations as means of constructing black identities, belonging, and communities in the conditions of the borderscape where hegemonic and resistant identifications come into contact with each other. Furthermore, the borderscape constructed can be seen as a sonic borderscape owing to the significant role allotted to music and radio in the novels. While music plays a particularly significant role at the level of the individual and contributes to the making of a distinct identity and difference, their becoming, the specific function given to community radio in these novels is to construct communities of belonging.1
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Rarastesa, Zita. "The Sense of Loss in Jean Rhy’s Voyage in The Dark: The Absence of Mother and Imagined Black Identity." Paradigma, Jurnal Kajian Budaya 5, no. 2 (July 1, 2015): 253. http://dx.doi.org/10.17510/paradigma.v5i2.58.
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<p>The sense of loss of a mother leads Anna Morgan to her imagined black identity. Being a Creole from Dominica, Morgan is alienated both in her home country and in London. Du Bois’s notion of double consciousness substantiates Morgan’s sense of alienation. The racial issue here is not only socially constructed, but it is also personally constructed, as Morgan does not consider England as her homeland although she is as white as English people. people. The character is struggling from identity conflict, as she internalizes the impact of the British colonialization to the black people in Dominica. She feels more black than white because of the image of blackness that she creates from the image of her mother and black women in general, as nurturing, warm and domestic. In addition to that, the geographic location contributes to Morgan’s sense of loss.</p>
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Joo, Ha Young. "Identity Politics and Racism Represented in the Work of John Akomfrah’s Black British Film." Journal of Art Theory & Practice 31 (June 30, 2021): 139–66. http://dx.doi.org/10.15597/jksmi.25083538.2021.31.139.
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Tournay-Theodotou, Petra, Eva Ulrike Pirker, and Sofía Muñoz-Valdivieso. "Britishness beyond the New Britain: British identities and the identity of Britain in recent black and Asian British Writing." Journal of Postcolonial Writing 52, no. 1 (January 2, 2016): 1–5. http://dx.doi.org/10.1080/17449855.2015.1125146.
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Толкачев, С. П. "Crossing Invisible Borders: Hybrid Identity in Postcolonial British Prose." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(77) (March 16, 2023): 103–13. http://dx.doi.org/10.37724/rsu.2022.77.4.011.
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В статье идет речь об особенностях современной британской постколониальной литературы, в которой на протяжении последних десятилетий переосмысляется опыт мигрантов, проживающих на территории Соединенного Королевства. Актуальность исследования состоит в обращении к творчеству британских мультикультурных писателей, чьи произведения с каждым годом становятся все более популярными, что объективно отражает смену этнокультурной парадигмы в пространстве литературы. Цель статьи — проанализировать произведения современных британских писателей Миры Сайал и Дирана Адебайо с точки зрения присутствующих в них гибридных образов, которые возникают в так называемых пороговых пространствах, то есть в пограничье двух и более культур. Предметом исследования являются романы «Жизнь — не только сплошная радость» М. Сайал и «Оттенок черного» Д. Адебайо. Результаты изыскания дают возможность выявить новые формы поэтики мультикультурного пространства в произведениях постколониальных писателей, а выводы статьи позволяют определить особенности образности постколониальной литературы, которая в современном мире формирует содержание как социокультурных, политических дебатов, так и структуру отдельных видов идентичности национальных меньшинств в Великобритании. Практическая значимость данного труда заключается в возможности использования его результатов в подготовке курсов лекций и практических занятий по современной зарубежной литературе, в разработке спецкурсов по постколониальной и мультикультурной прозе. The article focuses on the peculiarities of modern British postcolonial literature which in the recent decade has been reassessing British migrants’ experience. The relevance of the research consists in the fact that it analyzes works of British writers from multicultural backgrounds. The analyzed literary works have been gaining popularity lately, which signals a cultural paradigm shift. The aim of the article is to analyze works by modern British writers Meera Syal and Diran Adebayo from the point of view of hybrid images which appear in the so called threshold spaces, i.e. between two or more cultures. The object of the research is the novel Life is Not All Ha Ha Hee Hee by Meera Syal and Some Kind of Black by Diran Adebayo. The research outlines new forms of multicultural poetics in postcolonial writers’ works, which help shape self-awareness of ethnic minorities in Britain and provoke socio-cultural and political discussions. The practical significance of the research consists in the fact that it can be used to teach foreign literature, postcolonial and multicultural prose.
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Wang, Senhu, and Shuanglong Li. "Exploring Generational Differences of British Ethnic Minorities in Smoking Behavior, Frequency of Alcohol Consumption, and Dietary Style." International Journal of Environmental Research and Public Health 16, no. 12 (June 25, 2019): 2241. http://dx.doi.org/10.3390/ijerph16122241.
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Background: This article explores ethnic minority generational differences in smoking behavior, frequency of alcohol consumption, and dietary style in Britain, and whether these differences can be explained by generational differences in socioeconomic status and ethnic identity. Method: Multivariate analyses using wave 2 (2010–2012) and wave 5 (2013–2015) of the United Kingdom Household Longitudinal Study on smoking behavior, frequency of alcohol consumption, and dietary style from 59,189 White British, 1690 Indians, 960 Pakistanis, 555 Bangladeshis, 1060 Black Caribbeans, and 1059 Black Africans, adjusted for demographic characteristics, socioeconomic status and ethnic identity. Results: While we find little evidence for generational differences in dietary style, second-generation Indians, Pakistanis, and Black Caribbeans have a significantly higher probability of smoking than the first-generation, and all second-generation minorities are significantly more likely to consume alcohol than their first-generation counterparts. Such generational differences in alcohol consumption are partly explained by second-generation minorities’ weakened ethnic identity and higher socioeconomic status. Conclusions: This study facilitates a better understanding of minority generational differences in health behaviors and the role of socioeconomic status and ethnic identity, highlighting the need for future policy interventions to target certain second-generation ethnic minorities who have adopted certain host society unhealthy lifestyles.
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Denis-Rosario, Milagros. "The Silence of the Black Militia:Socio-Historical Analysis of the British Attack to Puerto Rico of 1797." Memorias 14 (April 29, 2022): 48–74. http://dx.doi.org/10.14482/memor.14.653.2.
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Using the theory of silencing developed by Haitian anthropologist Michel-Rolph Trouillot this essay analyses the British attack to the island of Puerto Rico in 1797. It argues that Puerto Rican historiography neglected and silenced the pivotal role of Black Puerto Ricans in this historical event. This historical reflection also proposes a new way to revise the hegemonic historical discourse, which contributes in the marginalization of Black Puerto Ricans from the construction of the island‟s national identity.
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Parvez, Stephen. "The Strengths of Black Families: Appropriate Placements for All." Adoption & Fostering 24, no. 1 (April 2000): 15–22. http://dx.doi.org/10.1177/030857590002400104.
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The strengths which black families bring to substitute parenting have rarely been explored in detail in British social work research literature. A recent study on the permanent placement of black children in substitute families provided the opportunity to interview a number of black foster carers. Stephen Parvez Rashid reports on six black foster carers and identifies their strengths in helping the children in their care to settle in their new families, deal with issues of racism and identity and retain contact with their birth families. He concludes with a brief account of the foster carers' support networks and their evaluation of their efforts to provide sustained care for the children.
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Longley, Oumou. "Olive and me in the archive: a Black British woman in an archival space." Feminist Review 129, no. 1 (November 2021): 123–37. http://dx.doi.org/10.1177/01417789211041898.
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This article aims to explore how the archival life of Olive Morris might radically rebuff the devaluation of Black womanhood and identity in Britain. Harnessing a Black feminist framework, I approach Lambeth Archives, where the Olive Morris Collection is found as a therapeutic space. Through an understanding of Olive as complex, I disrupt hegemonic expectations of Black women and propose that within the space of this research, Black womanhood be allowed the freedom of self-definition. In a conglomeration of the documents and voices of the community that remembers Olive, marginalised epistemologies are legitimised. Their sometimes-conflicting accounts generate an unbounded image of Olive as a figure of Black British women’s history that harbours meaning as it is mobilised in social consciousness. Incorporating my own auto-ethnographic reflections, I explore the internal and external impact of Olive and my existence in this archival space.
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Michael, Reem, and Patrick Rosenkranz. "‘I shouldn’t have to prove myself’: The experiences of Black women at Russell Group Universities." Psychology of Women and Equalities Section Review 3, no. 1-2 (May 2020): 33–41. http://dx.doi.org/10.53841/bpspowe.2020.3.1-2.33.
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The intersection between racism and sexism means that Black women are more vulnerable to oppression in various environments, including the university, where it could be enforced on both an institutional and personal level. However, while there is some research on the topic, there has not been much that explores this within the British higher education system. Focusing particularly on Russell Group universities (RGUs), due to their low intake of Black students, an interpretative phenomenological analysis was conducted to explore the experiences of Black women at these universities. Six Black female undergraduate students from various RGUs took part in semi-structured interviews and the following themes were established: Motivations (strong family influence, cultural pressure), identity development (questioning their identity, changes in self-presentation and the ‘Strong Black Woman’) and reacting to prejudice (deciphering microaggressions, responses to discrimination and ‘ambassador’ for Black women). From this, suggestions for future research include exploration of other intersections and expansion on the resulting themes, as well as a call for multicultural counselling and transparency in the handling of discrimination reports for universities.
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Kim, Tae-jin, Terence Christian Oliga, and Shin-jae Park. "The British Superiority of the 18th Century British Man Towards Different Ethnic Groups Revealed in Robinson Crusoe." Convergence English Language & Literature Association 7, no. 2 (August 30, 2022): 159–77. http://dx.doi.org/10.55986/cell.2022.7.2.159.
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The primary purpose of this study is to see the white British man's ethnic superiority in the eighteenth century revealed in Robinson Crusoe by Daniel Defoe. Through the attitude of Robinson Crusoe towards the people of color such as Xury or Friday, we can see how proud the British were of their ethnic and racial superiority. The protagonist takes it for granted to enslave the Moore and the black-skinned boy, establishing master-slave relationships. From his perspective, the British were the masters of others, a chosen people by God, and citizens with great intelligence and scientific knowledge, but other ethnic people were inferior races close to primitiveness. However, Crusoe's attitude toward the Spanish is quite different from the attitude he showed towards Xury and Friday. While he placed himself in the position of the master with Xury and Friday, he treats the white Spanish man as if he were one of his colleagues. This proves that the sense of superiority of the protagonist's 'others' is not based on the nation or the country, but on race. The protagonist, who unexpectedly settled on the uninhabited island, is depicted as a heroic figure, not only surviving all kinds of difficulties but also saving the lives of some people. He also restores the Christian faith through the time of loneliness. Nevertheless, his words and attitudes presented throughout the novel cannot overcome the distorted and wrong self-identity, in other words, 'white supremacy', or 'the British supremacy', which was prevalent in the 18th century.
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McGrady, Conor. "An Interview with Topher Campbell." Radical History Review 2022, no. 142 (January 1, 2022): 111–18. http://dx.doi.org/10.1215/01636545-9397086.
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Abstract This Curated Spaces features an interview with Topher Campbell of rukus! archive. The rukus! archive was founded in 2005 by photographer Ajamu X and filmmaker and theatre director Topher Campbell. The archive is dedicated to collecting, preserving, and making available artistic, social, and cultural histories related to Black LGBTQ+ communities in the United Kingdom. Its intellectual origins reside in the work of Stuart Hall and British cultural studies, and the critical dialogue it establishes with both mainstream heritage practices and dominant Black and queer identity discourses.
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Carroll, Rachel. "Black Victorians, British television drama, and the 1978 adaptation of David Garnett’s The Sailor’s Return." Journal of Commonwealth Literature 54, no. 2 (February 6, 2017): 207–24. http://dx.doi.org/10.1177/0021989416687350.
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The under-representation of Black British history in British film and television drama has attracted significant public debate in recent years. In this context, this article revisits a critically overlooked British film adaptation featuring a woman of African origin as a protagonist in a drama set in Victorian England. The Sailor’s Return (1978), directed by Jack Gold, is an adaptation of a historical fiction written by David Garnett and first published in 1925. This article aims to situate the novel and its adaptation in three important contexts: set in rural Dorset in 1858, the narrative can be considered in the context of Victorian attitudes to people of African origin; written by a member of the Bloomsbury circle, the novel is informed by modernist perspectives on the legacies of the Victorian era; broadcast to a popular audience in the late 1970s, the film can be located in a politically progressive tradition of British television drama. Approached in this way, this multiply mediated cultural representation serves to generate insights into the treatment of racism in liberal left cultural production, from early twentieth century modernist milieus to the anti-racism of the British left in the 1970s. These contexts will inform close textual analysis of two motifs — the depiction of the countryside, and the role of costume — which have proved central to ongoing debates about racialized constructions of national identity in British historical film genres. This article will argue that the 1978 film adaptation of The Sailors Return presents a significant precedent when considering what Stephen Bourne has termed the “invisibility” of Black British history in British historical film.
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Davis, Merri H., and Adina B. Friedman. "Not Staying in Their Place: An Historic Analysis of Mechanisms of Controlling Movement of Black Men in America through the Lenses of Social Identity and Gender." Journal of Black Studies 52, no. 7 (June 10, 2021): 750–67. http://dx.doi.org/10.1177/00219347211021091.
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Since the arrival of enslaved Africans to the British colony of Virginia in the early 17th century, the spaces of Black men have been policed. Templates characterizing Black males as violent, dangerous, and sexually potent were fully developed by the 18th century and reflected in laws, practices, and systems designed to control their movement. This article applies lenses of social identity and gender to examine contemporary constructs of and practices toward Black men, tracing them back to their historical precursors. The authors contend that fear-based templates continue to be evoked in 21st century America to control the movement and space of Black men through systems and structures which criminalize, terrorize, and economically and educationally dis-advantage them. A major impetus for the development of these systems and structures has been the construction of White masculinities. The authors thus explore the co-constitutive nature of Black and White social identities, a central component of which is gender.
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Oliveira, Célia. "Shifting Perspectives on Male Black Masculinity and Britishness." Diálogos 3 (November 17, 2018): 124–32. http://dx.doi.org/10.53930/27892182.dialogos.3.85.
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This article intends to discuss issues related to what it means to be a black male in Britain, as well as the stereotypes related to black masculinity and sexuality. This theme will be broached through the analysis of three theatre plays by the acclaimed playwright Roy Williams – Lift Off (1999), Clubland (2001) and Joe Guy (2007). Roy Williams deals with the insecurities and frustrations of young men and the importance sex has in their lives. The plays raise many questions about cultural identity, not about what it means to be British but what it means to be a black male in Britain. The plays question the media-influenced stereotypes created by society on the relationships that young black people maintain.
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Isaac, Deborah. "One Size DOES NOT Fit All: Black British-Born Mental Health Nurses and Factors Influencing their ‘National’ Health Service Career Progression." Journal of Ethnic and Cultural Studies 7, no. 3 (September 1, 2020): 88. http://dx.doi.org/10.29333/ejecs/417.
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Evidence suggests that Black and Minority Ethnic nurses in England’s National Health Service significantly lag behind their White counterparts in Bands 8a, 8b, 8c, 8d & 9 and ‘Very Senior Managers’ positions. Some attribute unequal positions of these nurses to discrimination, racism, exclusion, classism and other forms of disadvantage. Other factors however, are obscured through the accounts of predominantly Black overseas nurses. National Health Service Trusts’ workforce data tends to be gathered using the acronyms BME or BAME. Narrow ascriptions of skin colour or ethnicity to signify experiences of nurses as BME or BAME overlook complexed factors influencing their career. The aim of this study is to understand the career progression of Black British-born nurses as current literature fail to meaningfully account for their experiences. To understand the issues influencing the apparent lag, this study utilised a qualitative approach. Data collection was supported by semi-structured interviews. Unlike other studies, participants revealed very little to suggest discrimination as a hindering factor of career progression. Such a finding indicated that socialised ‘British cultural capital’ constitutes a strong ‘helping factor’ to override the ‘hindering factor’ of their ‘Black ethnic identity’. This implies that National Health Service Trusts equal opportunities policy drivers should apply more robust ethnic monitoring and reporting systems. Consequently, its grading structures would be best placed to represent and compare intergroup nuances between ethnic minority nurses. It will become inescapable for the UKs National Health Service not to address intersectional factors of ethnic identity, due to historical and persistent exposure of workforce inequities.
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Ogden, Jane, Aliya Amirova, Helen Brunger, Yasemin Hirst, Bridget Jones, Andy Pringle, Kerry Wood, and Vicky Senior. "The impact of the London Olympic Games 2012 on physical activity, general health status, well–being and national identity: A quantitative survey based in Stratford, 2011 and 2012." Health Psychology Update 23, no. 2 (2014): 17–26. http://dx.doi.org/10.53841/bpshpu.2014.23.2.17.
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AimsPoliticians and journalists have made many claims about the impact of the London Olympic Games 2012. The present study aimed to explore the impact of the Games on physical activity, general health status, well–being and national identity.MethodA survey was conducted in Stratford, London at two time points: October 2011 (N=366) and October 2012 (N=406).ResultsThe results showed no differences in actual or intended physical activity levels or positive mood from before to after the Games. In contrast to predictions, however, participants after the Games reported greater negative mood and lower perceived health status. In addition, although no overall changes in national identity were found, more Black participants reported that being British was important to them after the Games (77.8 per cent) compared to before (55.7 per cent).ConclusionThere was no evidence for the predicted increase in physical activity, health status or well–being after the Games. In fact, after a year both mood and perceived health status were lower than before. Black people, however, showed a stronger allegiance to their British national identity after the Games compared to before. The London Olympic Games 2012 appears not to have had the predicted positive impact on some aspects of health by one year. Perhaps, however, the multicultural mix of Team GB has had a positive impact of the sense of national identity on the multicultural population of Stratford.
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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.
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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than a century.
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Saillant, John. "Antiguan Methodism and Antislavery Activity: Anne and Elizabeth Hart in the Eighteenth-Century Black Atlantic." Church History 69, no. 1 (March 2000): 86–115. http://dx.doi.org/10.2307/3170581.
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Around 1790, two young sisters born into a slaveholding free black family began instructing Antiguan slaves in literacy and Christianity. The sisters, Anne (1768–1834) and Elizabeth (1771–1833) Hart, first instructed their father's slaves at Popeshead—he may have hired them out rather than using them on his own crops—then labored among enslaved women and children in Antiguan plantations and in towns and ports like St. John's and English Harbour. Soon the sisters came to write about faith, slavery, and freedom. Anne and Elizabeth Hart were moderate opponents of slavery, not abolitionists but meliorationists. When compared to their black American, British, and West African contemporaries, the Hart sisters illuminate the birth of a black antislavery Christianity in the late eighteenth century precisely because they never became abolitionists. The Hart sisters shared with their black contemporaries a vivid sense of racial identity and evangelical Christianity. Yet as meliorationists, the Hart sisters did not oppose slavery as an institution, but rather the vice it spread into the lives of blacks. The difference between the Hart sisters and their contemporaries such as Richard Allen, Quobna Ottobah Cugoano, Olaudah Equiano, Lemuel Haynes, and John Marrant—all luminaries of black abolitionism of the late eighteenth and early nineteenth centuries—was that the abolitionists felt themselves citizens of a modern nation-state characterized by power that could be used against slave traders and slaveholders. The Hart sisters never thought of themselves as citizens and abjured political means, including revolution, of ending slavery. This essay aims to describe the Hart sisters' faith and antislavery activity and to analyze the difference between meliorationism and abolitionism in terms of a black writer's ability or inability to identify as a citizen of a modern nation-state.
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Wegener, L. A., Z. K. Punja, and R. R. Martin. "First Report of Blueberry scorch virus in Black Huckleberry in British Columbia." Plant Disease 91, no. 3 (March 2007): 328. http://dx.doi.org/10.1094/pdis-91-3-0328c.
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Blueberry scorch virus (BlScV), an aphid-borne carlavirus, causes a serious disease of highbush blueberry (Vaccinium corymbosum L.) in North America and Europe. Symptoms of BlScV infection on highbush blueberry include necrosis of flower blossoms and young leaves, shoot blight, and chlorosis. Currently, cranberry (Vaccinium macrocarpon L.) is the only other natural host of BlScV. In July 2004, wild black huckleberry (Vaccinium membranaceumL.) was sampled in the Kootenay Region of southeastern British Columbia. Foliar tissues were sampled during 2004 from 11 bushes from a clearing on the side of a mountain near Crawford Bay, BC, Canada and tested by double-antibody sandwich-ELISA using polyclonal antiserum (Agdia Inc., Elkhart, IN). BlScV was detected in 6 of the 11 bushes sampled and in the positive control (BlScV-infected blueberry leaf tissue) and was not detected in the negative control (healthy blueberry leaf tissue). To confirm the presence of the virus, total nucleic acid was extracted from ELISA-positive huckleberry samples according to an established protocol (A. Rowhani et al. Proc. Int. Counc. Stud. Viruses Virus-Like Dis. Grapevine, Extended Abstr. 13:148, 2000). Reverse transcription-PCR was performed using pd(T)12-18 random primer (Amersham Biosciences, Piscataway, NJ) for reverse transcription and BlScV-specific primers developed against the published NJ-2 sequence of BlScV (GenBank Accession No. NC_003499). Using the forward primer, BS708F, (5′-TCAATCCGTGGTGCTACGAG-3′), and the reverse primer, BS1188R, (5′-ACAGTGCGCAATGTTCCAGT-3′), a 480-bp amplicon was obtained from each of the ELISA-positive samples, while no ampli-cons were observed for the negative control (ELISA-negative huckleberry tissue). Direct sequencing of one selected amplicon revealed 90, 84, and 77% nucleotide sequence identity and 97, 96, and 88% amino acid sequence identity with strains NJ-2, BC-1 (GenBank Accession No. AY941198) and BC-2 (GenBank Accession Nos. AY941199), respectively. BlScV-infected huckleberries were asymptomatic. The presence of BlScV in alternate hosts has implications for disease epidemiology. Testing for BlScV in Vaccinium species in and around commercial highbush blueberry plantings, as well as lowbush blueberry (V. angustifolium Aiton), rabbiteye blueberry (V. ashei Reade), other native Pacific Northwest species (V. ovatum Pursh and V. parvifolium Smith), and ornamental Vaccinium species is warranted. To our knowledge, this is the first report of BlScV infecting black huckleberry.
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Paryż, Marek. "Redefining colonial identities in contemporary transnational westerns: Tracker (2010) and Black ’47 (2018)." Journal of New Zealand & Pacific Studies 10, no. 1 (June 1, 2022): 7–23. http://dx.doi.org/10.1386/nzps_00089_1.
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In this article, I discuss two contemporary films that exemplify the use of the western genre for historical reassessments in varied national contexts: Tracker (2010, dir. Ian Sharp, New Zealand/UK) and Black ’47 (2018, dir. Lance Daly, Ireland). The two films employ similar plot structures, based on the motif of pursuit. In Tracker, set in the aftermath of the Boer wars, a former Boer fighter, now in New Zealand, searches for an assimilated Māori sailor who has been accused of killing a British soldier. In Black ’47, set in Ireland at the time of the Great Famine, an Irishman who served in the British colonial army in the Middle East strives to take revenge on the landowner responsible for the death of his relatives. A mission is organized to prevent him, led by an alienated veteran of the colonial wars. Tracker and Black ’47 show that as a result of colonization various directions of mobility emerged that triggered reinventions of predefined identities within the colonizer/colonized binary. In the two films under discussion, the use of the western helps to address the problem of identity construction by exploring the experience of liminality as a factor behind the dissolution of colonial cultural hierarchies. The protagonists of Tracker and Black ’47 embody the kind of mobility that signifies lasting displacement, seen as a larger syndrome of the era of colonial empires.
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Drummond, Rob. "Maybe it's a grime [t]ing:th-stopping among urban British youth." Language in Society 47, no. 2 (January 26, 2018): 171–96. http://dx.doi.org/10.1017/s0047404517000999.
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AbstractThis article examines how voicelessth-stopping (e.g.tingforthing) is used by a group of adolescents in Manchester, UK. The data come from an ethnographic project into the speech of fourteen to sixteen year olds who have been excluded from mainstream education. Althoughth-stopping is often strongly associated with black varieties of English, multiple regression analysis finds ethnicity not to be a statistically significant factor in its production. Instead, conversational context and involvement in aspects of particular social practices—grime (rap) and dancehall music—emerge as potentially more relevant. Subsequent interactional analysis adds support to this interpretation, illustrating how the feature is being used more or less strategically (and more or less successfully) by individuals in this context in order to adopt particular stances, thereby enacting particular identities that are only tangentially related to ethnicity. I argue that use ofth-stopping in this context indexes a particular street identity that is made more available through participation in grime especially. (th-stopping, youth language, identity, ethnography, grime, hip hop)*
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Beattie, Melissa. "‘You can get it if you really want?’: The use of Caribbean music genres in Death in Paradise." Journal of Popular Television, The 10, no. 3 (October 1, 2022): 231–46. http://dx.doi.org/10.1386/jptv_00081_1.
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Set on the fictional Caribbean island of Saint Marie and filmed on Guadeloupe, British/French co-production Death in Paradise (2011–present) frequently uses reggae, amongst other perceived local styles, as its diegetic and non-diegetic music. Reggae is historically a music of resistance, specifically resistance to oppression by White colonial power structures. That a British/French co-production uses reggae to reinforce an elided pan-Caribbean location featuring a White, male, British or Irish DI in charge of a local Black police force can be read as stereotypical. When added to a British/French series such as this, with what can be read as colonialist discourses, the readings can become problematic. This article argues that, rather than simply being part of the series’ banal diegetic nationalism (i.e. the series’ flagging itself as a particular identity/-ties), the use of Caribbean music genres in this context can be read as subverting their original anti-colonialist context and both supporting and exacerbating a (perceived) colonialist reading for the series.