URA 2

 Challenging Heritage in Post-Nation Britain

This edited collection re-examines the concept of heritage in a multicultural Britain, inspired by Stuart Hall's foundational work.

• The book critiques elitist notions of heritage in Britain.
• It addresses the impact of populist discourses, such as Brexit and culture wars, on heritage narratives.
• The authors, predominantly Black Britons, respond to systemic racism and advocate for inclusive heritage practices.
• The volume is aimed at academics, culture sector practitioners, and community members, particularly those identifying as Black.

Stuart Hall's Influence on Heritage Discourse

Stuart Hall's work serves as a catalyst for rethinking heritage as a dynamic and inclusive concept.

• Hall's 1999 speech "Whose Heritage?" challenged Eurocentric views of British heritage.
• He emphasized the importance of recognizing diasporic traditions and creativity in heritage narratives.
• Hall argued for a more culturally diverse and socially just society, holding institutions accountable for representation.
• His critique remains relevant, as many issues identified over 20 years ago persist today.

The Role of Activism in Heritage

Activism plays a crucial role in addressing inequalities within the heritage sector.

• The Black Lives Matter movement has intensified discussions around heritage and representation.
• Activists and scholars are working to confront structural inequalities in UK public heritage bodies.
• The book highlights ongoing struggles and efforts to reshape heritage narratives to be more inclusive.
• It emphasizes the need for accountability and responsiveness to Black communities' needs in heritage practices.

Definitions and Language in Heritage Context

The collection navigates complex definitions of race and identity within the context of heritage.

• The term "Black" is capitalized to denote racial identity, while "white" remains lowercase.
• The authors grapple with the implications of using umbrella terms like "political Blackness."
• There is an ongoing search for language that accurately represents diverse experiences without erasure.
• The editors advocate for allowing individuals to define their identities and remain open to evolving language.

Structure and Themes of the Book

The book is organized into four thematic parts, each addressing different aspects of heritage.

• Part I features Hall's original essay and its impact on heritage discourse.
• Part II focuses on historical production and the institutional challenges in representing diverse narratives.
• Part III explores Black representation in arts and culture, emphasizing creative practices.
• Part IV presents final provocations and reflections on the future of heritage in a post-nation context.

BBC's Play for Today and Multiculturalism

The chapter discusses the BBC's Play for Today series and its role in reflecting multicultural Britain.

• The series aired from 1970 to 1984 and focused on new works addressing social issues.
• Barrie Keeffe's plays, "Waterloo Sunset" (1979) and "King" (1984), are highlighted as early reflections of multiculturalism.
• Despite the lack of Black creatives in production roles, these works paved the way for contemporary artists like Michaela Coel and Steve McQueen.

Media Representation and Power Dynamics

Tina Gharavi examines who controls cultural representations in British film and documentary.

• The chapter titled "Narrative Cannibals" interrogates power relations in cultural productions, especially in ethnography.
• Gharavi discusses her documentaries, "Mother/Country" (2003) and "Tribalism Is Killing Us" (2019), as examples of new narrative strategies.
• The chapter emphasizes the democratization of media and the emergence of immigrant narratives in mainstream discourse.

Teaching the Transatlantic Trade in Enslaved Africans

Beverley Prevatt Goldstein reflects on the education of the transatlantic trade in enslaved Africans in UK schools.

• The chapter challenges assumptions about the inclusion of minority heritages in national narratives.
• It focuses on the Caribbean diaspora's experience and the complexities of heritage portrayal.
• Goldstein argues for a nuanced understanding of heritage's impact on marginalized communities globally.

Re-imagining Heritage in the UK

Etienne Joseph questions the differences between preservation and the production of new cultural works.

• The chapter "Brand New Second Hand" critiques materialist approaches to heritage.
• Joseph invokes Stuart Hall's concept of cultural repertoire to advocate for living engagements with the past.
• The chapter encourages moving beyond established heritage paradigms through African/Diasporic cultural frameworks.

Structural Changes for a Post-nation

R.M. Lewis discusses the need for structural changes in heritage narratives to align with Hall's vision of a post-nation.

• The chapter "Crisis of Authority" calls for personal and institutional actions to decolonize heritage practices.
• Lewis shares her experiences in community development and the importance of intersectional perspectives.
• The chapter emphasizes the role of tools like the UN's CEDAW feedback model in enacting change.

The Power of Creative Representation

Degna Stone explores the strength of creative works in expressing heritage and identity.

• The chapter "The Power to Represent" connects poetry and heritage, reflecting on the intersectionality of cultural identity and race.
• Stone argues against the artificial segregation of cultural identities, advocating for unity among working-class groups.
• The chapter features contributions from four poets responding to themes in Hall's work, emphasizing the importance of diverse voices in heritage narratives.

Continuing the Conversation on Heritage

The volume concludes by acknowledging the ongoing challenges in representing diverse heritages.

• It highlights the need for further discussions on normative ideas of heritage in the UK and globally.
• The text encourages readers to engage with the question of "Whose Heritage?" to understand power relations in heritage narratives.
• The authors hope to stimulate important conversations about the complexities of heritage and identity.

Historical Context of Racial Inequality in UK

The text discusses the historical and ongoing racial inequalities faced by Black communities in the UK, particularly in the cultural heritage sector.

• Increased visibility of Black communities in the UK during the 1950s highlighted the dependency of British identity on marginalization.
• The working class often defined itself by marginalizing its own members of color.
• Caribbean immigrants faced both racial and class discrimination, leading to a unique cultural expression that challenged existing norms.
• Stuart Hall's work emphasized the need for cultural spaces that reflect Black British experiences and histories.

Impact of the 'Whose Heritage?' Conference

The 'Whose Heritage?' conference aimed to address racial inequalities in the cultural heritage sector and promote inclusivity.

• Stuart Hall's keynote emphasized the need to integrate marginalized voices into the national narrative.
• He identified the need for resource redirection and tackling institutional resistance to achieve meaningful change.
• The conference highlighted the importance of capturing migrant experiences to enrich cultural narratives.

Progress and Challenges from 1999 to 2009

The decade following the conference saw limited progress in addressing racial inequalities in the cultural heritage sector.

• Initiatives included exhibitions and funding for Black community projects, but many were unsustainable.
• Only £76 million of Heritage Lottery funding was allocated to Black projects out of over £4 billion.
• The departure of Black staff from cultural institutions due to restructuring and institutional racism was noted.
• Key barriers included lack of leadership, accountability, and diversity in governance.

Developments in the Cultural Heritage Sector (2009-2019)

The second decade saw a mix of superficial changes and ongoing challenges in racial equality within cultural institutions.

• Events like Brexit and the Black Lives Matter movement brought racial inequalities to the forefront.
• Interviews with cultural sector employees revealed a consensus that progress was modest and uncoordinated.
• Positive developments included the appointment of Black senior staff and the establishment of networks like Museum Detox.
• However, many initiatives were criticized as lacking depth and failing to create lasting change.

Barriers to Racial Equality in Cultural Institutions

Institutional racism and systemic barriers continue to hinder progress in achieving racial equality in the cultural heritage sector.

• Black respondents identified institutional racism as a major barrier, particularly in governance and personnel policies.
• Boards were often unrepresentative, lacking diversity and understanding of the communities they serve.
• Poor human resource practices and a lack of anti-racist policies contributed to ongoing discrimination.
• The workplace culture was described as toxic, with instances of both overt and subtle racism.

Future Aspirations for Racial Equality

Participants expressed a mix of cautious optimism and radical aspirations for future changes in the cultural heritage sector.

• The Black Lives Matter movement was seen as a catalyst for change, prompting calls for more proactive measures.
• White participants suggested reformist approaches, while Black participants advocated for radical structural changes.
• There was concern that momentum from recent protests might wane without sustained action and commitment.
• The need for accountability and genuine engagement with Black communities was emphasized for future progress.

Cultural Heritage Sector and Racial Inequality

The cultural heritage sector in the UK has made some progress in addressing racial inequalities, but significant challenges and institutional racism persist.

• Diversity initiatives have been implemented over the last decade to address racial inequalities.
• There has been an increase in Black appointments at senior levels and engagement in programming.
• Both Black and white respondents feel that progress is insufficient to eliminate institutional racism.
• Concerns from previous reports (2003-2009) regarding racial inequities remain relevant today.
• Initiatives are often not integrated into long-term strategies and lack adequate funding.
• Black employees are often brought in at the last stage of projects, leading to a disconnect in understanding cultural diversity.
• Investment in training programs is high, but funds could be better allocated to create jobs for Black staff.
• The sector's progress over 20 years is not commensurate with the ongoing racial inequities faced by Black communities.

Need for Systemic Change in Heritage

An abolitionist approach is necessary to dismantle existing structures and create a new anti-racist model in the cultural heritage sector.

• Systemic reformist approaches have not been effective in addressing racial inequalities for three decades.
• An abolitionist approach involves deconstructing existing narratives and processes to allow for new, accurate histories.
• The demand for this approach has been longstanding and was notably promoted during the 2007 Bicentenary of the Abolition of the Slave Trade Act.
• Cultural agencies must engage in genuine partnerships with Black communities for impactful change.
• Transparent accountability and regular reporting to governmental bodies are essential for progress.
• New leaders with anti-racist competencies are critical to combat complacency in the sector.

Historical Context of British Heritage

British heritage has been shaped by internal tensions and the legacy of imperialism, complicating the narrative of a unified national identity.

• The conflation of British and English identities has historical roots in the colonization of Britain and the British Empire.
• The notion of a culturally homogeneous Britain is a recent development that overlooks internal divisions.
• The celebration of the British Empire often ignores its violent and exploitative history.
• The 1990s saw a rise in English nationalism, culminating in events like Brexit.
• Hall's work emphasizes that national identity is an ongoing project, constantly under construction.

The Impact of Imperialism on Heritage Objects

The status and interpretation of heritage objects in museums are deeply intertwined with colonial histories and practices of looting.

• Objects in museum collections often represent imperial hoarding rather than legitimate collecting.
• The Benin Bronzes serve as a prominent example of objects acquired through colonial violence and looting.
• Recent movements for restitution highlight the need to address the historical injustices associated with these objects.
• Museums often fail to provide adequate context for the violent histories behind their collections, leading to epistemic violence.
• The interpretation of objects can perpetuate disinheritance and silence regarding their origins and significance.

Contemporary Art and Heritage Reimagining

Contemporary art can play a crucial role in addressing colonial legacies and redefining heritage practices.

• Hall advocates for a contemporary art that challenges traditional narratives and engages with the colonial past.
• The focus should shift from preserving historical objects to creating new works that reflect diverse experiences.
• Artists like Kara Walker exemplify how contemporary practices can interrogate and reinterpret heritage.
• The need for adaptability in heritage practices is essential to reflect the complexities of modern society.

Kara Walker's Artistic Exploration of Colonialism

Kara Walker's work addresses themes of race, gender, and colonial violence through ephemeral installations and sculptures.

• Walker is known for her exploration of race, gender, sexuality, and identity since the mid-1990s.
• Her practice critiques the preservation of art objects and the historical narratives surrounding colonial violence.
• Walker's notable work, "Fons Americanus," was created for the Turbine Hall at Tate Modern in 2019.
• The title "Fons Americanus" plays on the Latin word for fountain and references the cultural group Fon from Benin, linking to the Benin Bronzes.
• The installation critiques the imperialist narratives of monuments like the Victoria Memorial in London.

Fons Americanus: A Critical Installation

"Fons Americanus" serves as a commentary on the historical trauma of colonialism and the complexities of heritage.

• The installation is a 13-meter-tall working fountain made from cork, metal, and Jesmonite.
• It symbolizes life and purification but also references violence, death, and resistance against oppression.
• Key figures in the sculpture include The Captain, representing Black resistance leaders, and a Black Venus figure.
• The fountain evokes the Middle Passage and the history of slavery, connecting to artworks like J.M.W. Turner’s "Slave Ship."
• Walker's work critiques the limitations of traditional heritage objects and the need for new interpretations of history.

Black Lives Matter and Heritage Politics

The timing of "Fons Americanus" coincided with significant global discussions on race and heritage, particularly during the Black Lives Matter movement.

• The installation's relevance intensified following the murder of George Floyd and subsequent protests against racial injustice.
• Walker's work responds to the legacy of Queen Victoria and the British Empire's role in the Transatlantic Slave Trade.
• The exhibition sparked debates about the future of monuments and the representation of colonial histories in public spaces.
• Curators emphasized the importance of addressing the historical narratives surrounding imperialist statues.

Transience and Ephemerality in Art

Walker’s use of ephemeral materials in her sculptures critiques the traditional notions of heritage and preservation.

• Walker's large-scale sculptures, like "Fons Americanus," are made from non-permanent materials and have been destroyed after the exhibition.
• The impermanence of her work challenges the reliability of historical objects as truths.
• Walker's art emphasizes the need to reconsider what is preserved in museums and the narratives that accompany these objects.
• The dissolution of her sculptures serves as a reminder of the fragility of history and the importance of oral traditions.

Historical Methods and Heritage Dynamics

The chapter discusses how historical methodologies influence the representation of marginalized voices in heritage.

• It critiques the power dynamics in history-writing and how they affect societal perceptions of belonging.
• The author examines the valorization of certain histories over others, particularly regarding migration and women's roles.