Black British Artists

Black British Artists

In 1998, the British Tourist Authority launched a ‘Rock & Pop’ Map. The intention of this was to encourage foreign tourists to conduct their own, self-led tours across Britain, using this map which pinpointed British cities and the Rock and Pop music icons they had produced. However, the guide omitted to make mention of the enormous contribution of Black British artists, and as such Grant directed a complaint to Tom Clarke, then Labour MP and Minister for Film and Tourism. Clarke’s response reveals that he agreed with Grant’s criticism of the Guide: “I agree that it was a pity that Black British musicians were not more prominently included in the promotion. I recognise the valuable contribution made by Black artistes to British culture”. Despite this, Clarke’s reply did not include mention that the omission in the map might be rectified in some way. Having been an MP by now for some time, he knew that he could expect a response to such questions put to a Minister, but with Labour now in power he felt increasingly able to influence policies and prioirities. To that end, public acknowledgement and celebration of the positive contributions made by Black people to British culture and history was of particular interest to Bernie Grant, not only as a way to combat negative stereotyping and omissions, but also to foster self-confidence and empowerment of black artists and influence.

The dearth in available museums, galleries, and other heritage sites dedicated to the historic and cultural presence of Black people in Britain, was a significant issue in the late 20th century, and it was not until the 1980s-90s that, despite the persisting obstacles, such institutions began to emerge. After many years of campaigning and organising, the African People’s Historic Monument Foundation, announced the refurbishment of the Black Cultural Archives’ premises on Coldharbour Lane in 1990, and wrote to supporters to request help with the task of developing the archive and museum space. Grant’s archive contains a letter from the Monument Foundation to this affect, which outlined that many people had hitherto “failed to gain relevant information elsewhere relating to accomplishments and Black Life history in Britain”. Grant was a vocal participant in such campaigns to increase public access to historical and cultural resources of this nature, and was enthused by the development of a Transatlantic Slavery Museum in Liverpool in 1994 – which was the precursur of the current permanent Liverpool International Slavery Museum . This is evidenced in a press statement by Grant, who called for “greater commitment for Britain’s museums and galleries to documenting slavery and colonialism”.

Throughout his career, Grant advocated for better representation and opportunities for Black artists. Before his death, Grant had aimed to set in motion the development of an Arts centre in Tottenham that could help foster such opportunities, and be of benefit to the local community. This centre was to come to fruition posthumously – in 2007, the Bernie Grant Arts Centre was opened to the public, designed by the Ghanaian-British architect David Adjaye. In addition to the Bernie Grant Arts Centre, and even sooner after his passing, the Bernie Grant Trust was established, which his Sharon Grant stated was set up to “seek to develop the work that Bernie started… empowering people within Black and ethnic minorities, enabling them to have a greater voice in determining their own futures”. A memorial concert was organised, along with the archive project which resulted in the vast collection held at Bishopsgate Institute which forms the basis of this digital archive, and this website.