Black Heritage: Narratives of Diaspora (Online Gallery)
From 16 October - 10 November, we hosted a free exhibition of diasporic items to celebrate Black History Month.
LU Arts collaborated with Dr. Kerri Akiwowo, Senior Lecturer in Textiles (School of Design and Creative Arts), to conceive a project that, through the presentation of objects and stories, celebrated and reflected the diverse diasporas of Black staff, postgraduates, Doctoral Researchers, and alumni.
A variety of diasporic objects had been submitted for inclusion in this Black History Month exhibition. These objects were displayed alongside explanations of their significance, detailing what each object represented, its personal meaning to the owner, and its connection to their diaspora. Physical objects, whether owned or collected, including ceramics, artwork, and textiles, were exhibited within a specially designed display structure, which are now available below in our online gallery.
Online Gallery
Cultural Threads: Weaving the Stories of The Black Diaspora
Candis Boateng // Undergraduate // Architecture, Building and Civil Engineering
Exterior artwork: Site specific commission by LU Arts
Kids in Nature
Derek Roberts // Director // Product Graphic Designer // Textile Design Alumnus
My father arrived in the UK from the Caribbean as part of the Windrush generation in the late '50s, Their arrival was marked by social challenges and exclusion, including signs in pubs that read "no blacks, no Irish, no dogs,".
As a British-born black man with Caribbean roots, my diaspora experience is a blend of cultures, explored through my expressive collages. These artworks delve deep into themes of identity, belonging, and the beauty of nature, reflecting my dual heritage. Collage serves as the perfect medium, mirroring the amalgamation of my cultural identity.
My work centers on the depiction of youth in nature, evoking feelings of innocence, wonder, freedom, and even angst. These collages meticulously capture the universal essence of wonderment, transcending cultural boundaries. Nature symbolizes the connection between humanity and the environment, adding layers of meaning to the narrative through the vibrant fusion of colors, textures, and stories.
My diaspora journey is deeply personal. Each collage infuses authenticity and emotional depth. Incorporating elements from both British and Caribbean cultures, these artworks transcend aesthetics; they act as a bridge between culture. This exploration celebrates diversity and underscores the power of art to unify and inspire.
Akwaaba
Naomi Alormele // Doctoral Researcher // Social Sciences and Humanities // Senior Lecturer // Social Care // University of Northampton
I hold the picture in my hand. A symbol of greetings and a reminder of the roots from which I came. An echo of hello, as I take in the memories from both the image and the journey it went on.
Kente cloth representing my heritage and family. A crack in the corner, a mark displaying the distance the picture travelled. Memories of my father taking the gift from his suitcase and handing it to me.
The colours of fabric and traditional clothing from a land paved in gold and sweet cocoa.
The rich colours of kente cloth remind me of trips to the market and church. A memory of sitting with my grandmother and dancing outside.
iam taken back to the welcoming smell of Kelewele. Fried plantain, sweet and spicy. Ginger, chilli flavours in abundance.
Memories of parking by the roadside. Coconuts cracked open, quenching my thirst. Smiles and laughter of children playing in the streets.
The beautiful sound of music, drums, dancing.
My grandmother’s medicine. Aloe Vera rubbed across my sore skin, soothing my wounds. Natural herbs.
Love and warmth.
The Gold Coast. Ghana
End.
Nok Art / Culture
Festus Adeyemi // PhD Candidate // Design and Creative Arts
Nok art/culture was one of the earliest known societies in West Africa. It was considered to be the genesis of the Sub-Saharan advanced civilisation. As a remarkable culture, Nok was discovered accidentally during a tin mining operation on the Jos plateau, Nigeria in 1928. Therefore, it occupies a prominent place in Nigerian art and history, dating back to the 2nd to 5th centuries of the Iron Age.
Nok art is considered one of the few civilisations in the world that transitioned from stone tools straight to iron tools without first learning how to make copper or bronze tools. Stylistic features include perforated ears and mouths. The heads are depicted with triangular-shaped eyes and pierced pupils, bearing distinctive hairstyles, using ornaments and jewels in their design.
I constructed Nok art because art portrays a society's culture and way of life. Nok sculptures are captivating and telling of that period. Communication through culture and the arts are observed as vital connecting platforms. Culture and arts have the potential to build relationships to assist society in imagining strategies and constructing atmospheres. I also created Nok art as a cultural heritage in my country, Nigeria, to experiment and explore known emblems and visual language that connect the unverified theories about No culture that suggest its function as a charm that prevents crop failure, infertility and illness.
Portraits
Aleida Hammond // Fine Art Alumna // Design and Creative Arts
My collection represents a variety of people who relate to the diaspora. Representing the community I come from has always been important to me. The diversity of the community and the diaspora is something that should be showcased in a positive manner. Africa consists of a wide variety of people and through my work, I want to be able to showcase the people God created.
Africa's history should not be silenced due to colonisation and division. I believe that representation is very important both for this and the next generation. Therefore, my work features people from all walks of life. People who have moved from different parts of the motherland.
Despite living in different areas of the world, Africa and its people's influence on culture, society and life is prevalent. Through who we are and where we come from, we have made a difference. This difference needs to be showcased in manners which are more positive and relatable. We are connected by where we come from and it's important to remember this.
Steel Drums
Curatorial
Steel drums, also known as steel pans have been used across the diaspora for barrel shipping between countries. Historically, in drum form, the large containers mainly facilited the transporation of goods, commodities and personal items from disaporic populations to relatives back home or vice versa.
Originating in Trinidad and Tobago, the development of steel drums as a pan instrument is attirbuted to the Caribbean. The distinctive percussion sound of the steel pan positions the unique object as a key feature of Calypso music.
Awkward
O Haruna // Doctoral Researcher // Postgraduate University Teacher // Design and Creative Arts
The first animation of PhD research that explores representing Black Britishness in narratives, this series of ident styled animations reflects the grey spaces of knowing how we should think, feel and react. By tapping into commonly shared emotions of embarrassment, confusion, and unease, these autobiographical snippets of adolescence aim to make private memories accessible. So prepare yourselves, things might get a little funny, a little dark and a little bit... awkward. Watch the 60 second short below.
Ghana Must Go Icon
Festus Adeyemi // PhD Candidate // Design and Creative Arts
'Ghana Must Go' bags have transcended their functional carrier status. The iconic soft container is a personified symbol of migration in West Africa. The bags not only carry belongings, they serve to transport culture, heritage and memories. As such, 'Ghana Must Go' was coined based on familiarity and the collective mindset of West Africans.
I considered the bag's political history and popularity in Lagos when reflecting on my research into campaign icons and symbols for waste reuse and rethinking. I explored the 'Ghana Must Go' bag as art material to connect Lagosians - where the name was originally coined, to my research involving waste-repurposed dialogues and experiments.
The strategy was that, since the bag is cheap and durable, it can be useful to keep waste materials safe, pending the arrival of the Lagos Waste Managers to pick them up in the community. Also, the bag is a strategic material I used as exploration data to connect Lagosians to waste reuse, recycling, reclaiming and rethinking.
Map of St. Kitts & Nevis
Jenny Prendergast // Lecturer in Fashion // Design and Creative Arts
My parents were born in St. Kitts and Nevis, a dual-island, Caribbean country. Our father would tell us that he swam between both Islands to meet my mother when they were courting. We, as young children couldn't believe that anyone could swim that far.
In the 1990's as adults, we were privileged to visit the islands on a family holiday to meet relatives. It was the first time my mother had returned since she left in the early 1950's. To see how close the islands we were to each other, we now started to believe it was possible that our father could swim that far and we laughed about it. My father did not accompany us on this trip and never returned to his place of birth.
This map sits proudly in my living room and is a constant reminder of my parents and the distance they had to travel to provide a loving and secure future for us.
Handmade Wood Carving
Curatorial // 1941 P. Vincent, Trinidad
Wood carving as sculptural art form has a long history in Caribbean art. Today, items are typically sold at craft markets and roadsides, appealing to tourist trade.
Ankara Celebration Gown
Dr Kerri Akiwowo // Senior Lecturer in Textiles // Design and Creative Arts
I wore this gown several years ago at a milestone birthday celebration of a dear "Mommy" who sadly passed on a short time after the momentous occasion. Proudly Nigerian, an entrepreneur, dressmaker, aunty, ma, sister, friend to many, wife, mother and grandmother, this gown remains a small personal symbol of the vitality of her life as I remember. A treasured memory of an incredible vibrant well-respected woman, much loved and sorely missed.
In true Nigerian style, I was not the only one to don an outfit made from this fabric on the day of celebrations. Two matching Ankara wax printed designs clothed multiple family members and honorary relatives, like me, who formed the official celebration party. Each person wearing a bespoke garment specially designed for the occasion. All united by a sense of community. A sight to behold and ultra typical of true Nigerian party tradition - a definitive dress code, matching outfits, colour co-ordination and highly decorated, full pomp and ceremony, from head to toe.
In Yoruba culture, dressing up in identical or matching attire for a party, wedding, or funeral, is called Aso Ebi, meaning "family cloth". It is a long-established tradition that publicly showcases social ties amongst individuals. This practice and like customs can be seen across Nigeria and other African countries.
Africani Wardrobe: Ugandan Barkcloth
Dr Kerri Akiwowo // Senior Lecturer in Textiles // Design and Creative Arts
Ugandan barkcloth is recognised by UNESCO as a Masterpiece of the Oral and Intangible Cultural Heritage of Humanity. It is a natural textile product and one of the first sustainable fabrics known to humankind.
Barkcloth is a symbol of African identity and African dress history pre-colonialism. In this example, 2,044 running stitches were hand sewn into the cloth. The process of stitching exploits the organic architectural properties of the fabric. The physical act of hand sewing celebrates notions of labour, time and mastery sustained by specific communities over several years and generations. The stitches were removed to reveal a decorative structural textile.
My sociohistorical examination of barkcloth clothing in pre-colonial Africa aims to harness new knowledge about the creative and sustainable potential of bark cloth for modern apparel applications. The aesthetic and material value of the cloth embeds my diasporic positionality, as a Black British practitioner-researcher of African origin creating the work. My African heritage is employed as a mechanism for creative expression and a principled approach to contemporary textile design motivated by a sense of belonging and identity.
A gift for you my daughter and for your daughter and her daughter after her
Prof Charlotte Croffie // Pro Vice-Chancellor // Equity. Diversity & Inclusion
The Beads and the Kente cloth are steeped in meaning and culture communicating stories and oral traditions. The colours used have meaning and act a code to decipher a common language.
For example:
black: maturation, intensified spiritual energy, spirits of ancestors, passing rites.
green: vegetation, planting, harvesting, growth, spiritual. renewal gold: royalty, weaith, high status, glory, spiritual purity.
blue: peace, unity, love, harmony.
maroon: the colour of mother earth, associated with healing.
purple: associated with feminine aspects of life; usually worn by women.
red: political and spiritual moods; and death
silver: peace, joy, the moon.
white: purification sanctification rites and festive occasions.
yellow: preciousness, royaity, wealth, fertility, beauty.
My daughter and granddaughter never forget who you are and where you are from. No matter how far you go these beads and the cloth will guide you home to where it began and those who love you. Each time you feel lost let the colours guide you for they hold memories of who we were and who we are - for we are one!
Mauritian Sega Dance Top and Skirt
Bibi Samshad Duman // Doctoral Researcher // Design and Creative Arts
In my artistic portrayal of the Mauritian Sega dance, I seek to offer a profound homage to the diverse and resilient African diaspora in Mauritius. The Sega dance, a cultural gem that has endured for centuries, stands as a testament to the enduring spirit of those who were forcibly brought to this island paradise during the dark era of slavery. Through each graceful step and haunting melody, the Sega became more than just a dance; it was a lifeline, a vessel through which the enslaved Africans could momentarily escape their grim reality and connect with their ancestral roots. The Sega dance is a dance of sorrow and joy, a reflection of the complex emotions and experiences of the diaspora.
The swaying hips and rhythmic clapping mirror the undulating waves of history that have shaped the Mauritian Black community. Through the fusion of African, Creole, and Indian influences in the dance, one can glimpse the interwoven threads of cultures and identities that define Mauritius today. A celebration of heritage, resilience, survival and a tribute to the ancestors who found solace and strength in the dance's embrace.
Through the enduring power of art to tell the stories, I hope to shed light on the rich and multifaceted history of Mauritius, and by extension, the broader African diaspora. As a Mauritian, I take immense pride in the enduring legacy of the Sega dance, a testament to our cultural richness.
Handmade Telephone Wire Bowl, Zulu, South Africa
Curatorial
Items like this are an extension of a history of basket weaving in South Africa. Artisans use leftover telephone wire to create vibrant woven products such as homewares and novelty animals.
Immigrant Women's Cooking
Dr Hibbah Osei-Kwasi // Lecturer // Sport Exercise and Health Sciences
As part of the research I did to understand immigrant women's cooking (African and the Caribbean) and what factors influenced their cooking. Participants took several photos and these images were used to tell stories of the transitions they have made to their food behaviours following migration to the UK.
A Taste of Jamaica
Prof Sheryl Williams and Dr Norline Martin-Atkins (Alumna) Prof Sheryl Williams // Engineering, Education Technology // Mechanical, Electrical and Manufacturing Engineering
In February 2003, five months after arriving from Jamaica to commence our PhDs, my friend Norline and I hosted our first Jamaican lyme' and needed a pudding worthy to finish the evening as our intention was to take our guests on a culinary journey of our beloved homeland. After much discussion on what we could do with available ingredients, we decided on a cornmeal pudding. We needed a recipe and found a Grace Foods recipe which has become a symbol of home for me ever since.
So, in 2003 when we baked our first cornmeal pudding, we decided to double the recipe thinking that this would make just enough for the party but what an error in judgement that turned out to be! We ended up with so much batter that we didn't know what to do with it. We used as much as we could. The cornmeal pudding was a massive hit - it was delicious, sweet, vibrant and brought back so many memories of our homeland and family back in Jamacia. It has since become my go-to 'bring something to share' treat and I have lost count of how many times I have baked it now, of course being very conscious of only doing half or quarter of the recipe. I absolutely love making and sharing my Jamaican cornmeal pudding. It reminds me of home and brings joy and smiles to those who partake.
Weighted
Worthy Clever-Egbedi // Postgraduate // Textile Design Alumna
'Weighted' spotlights water and health conditions in Africa, with a particular focus on Nigeria. The project accentuates the constraints of poverty against the backdrop of its rich cultural heritage. As a member of the Nigerian diaspora, I am driven by a deep connection to my roots and a commitment to making a positive impact on my homeland.
Through ceramic art forms, I aspire to ignite meaningful dialogue, fostering a more informed, engaged, and empathetic society, both within and outside the diaspora. By featuring the emblematic Jerry cans used for water transportation, I draw attention to the persistent problem of water contamination due to erosion, exacerbating health challenges like malaria. My art serves as potent symbols, encouraging viewers to delve into the critical issues faced by Nigerian communities and the broader African context.
Incorporating cultural elements with vessel designs inspired by headscarves and other elements of Nigerian heritage, I pay homage to Nigeria's diverse traditions and reflect the resilience of its people. Using slip dipping techniques to illuminate these vessels, I symbolically convey the hope for a brighter future, where these burdens can be eased not only in Nigeria but across the African continent. I seek to raise awareness and create a platform for constructive conversations, both within the diaspora and among a global audience.
Hot Water Bottle
Denise Coles // Equity, Diversity and Inclusion Manager // Vice-Chancellors Office
The object I have chosen to represent the diaspora is my hot water bottle. If I didn't have it, I wouldn't have a good night's sleep. I use it every night and it contributes to the energy and enthusiasm for life and my work, that people seem to appreciate.
When my mother came to this country in 1962 from Morant Bay, St Thomas, Jamaica; site of the first slave rebellion and home of the insuppressible Maroons, she experienced her first winter in the UK and honestly, she never got over the cold. This meant her daughters were taught to fear and dislike the cold and as a means of protection and comfort.
I have my hot water bottle as did millions who came to this country from the diaspora trying to make a life in what they were told was the mother land. We all know the history of the unwelcome arrival but for me special objects like my hot water bottle are daily reminders of my African and Maroon heritage and how we adopted whatever means we could to survive and thrive best as possible despite the external coldness. I love my hot water bottle.
Jamaica Sun Dutch Pot
Dr Kerri Akiwowo // Senior Lecturer in Textiles // Design and Creative Arts
The "Dutchie" is a staple ware of any Jamaican household. In my case, Jamaican-Nigerian household. This heavy-duty cast-iron cooking pot is typically used for browning, stewing, and frying in Jamaican cooking but is versatile and used for preparing a variety of much-loved dishes across the Caribbean. The Dutch pot shown here is a classic. It has a distinctive semi-circular bottom and lid which bears the inscription "JAMAICA SUN DUTCH POT", attributed to the manufacturer-distributor.
The legendary pot was coined the Dutch pot because it was originally imported to Jamaica by Dutch traders in the Netherlands in the mid-1600s. By 1982, British-Jamaican band, Musical Youth, made the humble pot famous, with the no. 1 chart hit, "Pass the Dutchie".
I feel a sense of both pride and belonging regarding my Dutch pot. For me, it is simultaneously nostalgic and current. It is a firm symbol of material culture and identity. It is familiar, comforting and affirming. I know who I am and where I'm at with a Dutch pot. Many a pot have graced the kitchens of relatives throughout my upbringing. I have sampled and polished off plenty of tasty Jamaican dishes expertly prepared via the Dutchie, in adulthood, my own Jamaican mother bestowed this Dutch pot to me, and I can honestly say, it felt like a rite of passage.
Dutchie, Dominoes and Dad
Carrie Blake // School Marketing Officer // Design and Creative Arts
Expired passport and nationality papers. My father's lone journey to England from Jamaica as a teen in the 1950's. Particularly in light of the very real threat and need to justify belonging and a place in a land considered the 'Mother Country'.
Dutch Pot and Dominoes. Jamaican, West Indian and Caribbean elders connection to a homeland. Many haven't returned to or revisited in a lifetime. Remembering and connecting through sharing food and community. A serious thing, Dominoes cannot be played quietly.
Drum (Uganda)
Dr Chidinma Okorie // Projects Officer // Organisational Development
Drums are a significant part of African culture and life. Traditionally, drums represent the soul of the community they are found in. They are used for celebrating ceremonial events and rituals within the community. They are also employed as tourist attractions in various African countries, promoting and exhibiting African heritage and culture.