Inspired
by the artist’s family history, B2B incorporated a free
art installation,
exhibition and workshop programme open to all at Brighton’s flagship
Jubilee Library. Emerging young artist and curator Christina Peake M.A.
examined her dual cultural heritage in a unique installation which reflected
on her experiences in Barbados and the UK in a Chattel
House setting
- a traditional slave hut. The exhibition employed British and Caribbean
creative references to personify the intimate relationship from slavery
to present day, that has characterised their history, and produced the
diversity of contemporary British society. The interior of the Chattel
House featured the work of acclaimed Royal Academician artist Frank
Bowling R.A., representing contrast and harmony with the colourful aesthetic
of Caribbean culture as well as demonstrating the skills of two artists
at polar ends of their careers.
Feedback on Bridgetown to Brighton
Chattels originated in Barbados with the advent of slavery. The basic hut structure was evolved by slaves for its mobility, simple construction and low cost; a preferable option because they would often be moved from plantation to plantation around the island. Like numerous cultural icons, the Chattel has withstood various adaptations and today in the Caribbean it is reinvented to embrace the tourist trade in the form of boutiques and rum shops. Yet, in the poorest areas of Barbados the Chattel is still a popular source of housing in various states of repair and disrepair, DIY expansion and renovation. The Chattel House has grown to become an integral part of the Barbadian landscape and an instantly recognisable architectural motif by both tourists and local inhabitants.
A distinct pattern of visitor emerged throughout the tenure, which highlighted a similar economic polarisation in Brighton; a significant proportion of visitors recognised the style of the Chattel House because they had visited the Caribbean regularly and some even had holiday homes there. For the most part, these visitors expressed how the installation evoked their memories of relaxation and exotic locations. By contrast, another sector of the visitors had close family connections to Africa and the Caribbean – some had relatives still living in property very similar to the Chattel House - and for these people the exhibition prompted memories of oppression and abject poverty, and many of them could not visit their families for economic or political reasons. There were also several poignant comments from people who were or had been homeless, and invariably the Chattel represented a luxury property that they would never have aspired to, living on the streets. In essence, both the content of the installation and its patronage reflected the artist’s recurring themes of connections, contrasts and juxtaposition.
Community
Inclusion and Participation
Members of the Brighton and Hove community were invited to get involved
in the exhibition by submitting photographs, stories or poetry of
their own on related themes e.g. the Caribbean, Africa, mixed heritage
and
migration. A hugely popular contribution was by family historian Jim
Baker who exhibited his family tree dating back
nine generations to Barbados in 1779. A series of free arts-based activities
was also
devised
to coincide
with the school half-term, targeting low income and hard
to reach communities.
This programme featured workshops in; storytelling, arts & crafts,
songwriting, physical theatre, creative writing and drama, plus a series
of talks by guest speakers and spoken word performances.
The library space was uniquely adapted as a performance area for the B2B launch event, which was a huge success with over 200 guests from community groups and local organisations. Centre stage was comedian and TV personality Felix Dexter whose irreverent humour was also a social commentary about the serious issues of racism and negative stereotypes. Artists from youth group Cultures Club also performed, and fledging comedienne Bola Ajani (who had the unique opportunity to appear alongside a role model she much admired) hosted the evening.
"The
Chattel House artist installation in the Jubilee Library was
a triumph. I had people from all backgrounds, ages and class
coming in, and its political and cultural history impacted on
them in a multitude of ways….Many visitors agreed that
the installation was dynamic and exciting, and a fantastic use
of the library space. The experience of the installation catalyzed
a discussion for many people about their own background and roots,
irrespective of where they came from and for most part they drew
from what was represented in the installation and related it
back to their own history; reinforcing the reality that the chattel
house was not just a representation of 'black’ or Caribbean
history, but was a strong representation of our, or a 'British'
history and therefore served to break down perceived barriers
and divisions. Because of this the exhibition was warmly received
and was a joyful experience for those who knew little or nothing
of the history to those who knew a great deal…Many visitors,
greatly impressed with the quality and scale of the installation
wondered whether it was to be toured around the country in other
libraries/communities. I personally believe, because of the unifying
nature of the installation that the chattel house would work
anywhere in Britain and would have the same dynamic response."
Jaineba Johnson – Senior Custodian. |
"What
an excellent installation, evocative of the cross-currents of
time, place and personal life! Thank you." |
"I
really enjoyed looking at the house - thank you for sharing
you family history." |
"What
a wonderful experience…listening to the talk about the
history of the slave trade was very enlightening and highly interesting." |
"This
really shows how different people can live but still be happy
- I love it." |
B2B Launch photo by ICON.
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