The Stuart Hall Libary Artist’s residency is a funded opportunity for an artist to be in residence at Iniva’s Stuart Hall Library over a three-month period. The selected artist receives a total sum of £4,500 and given support to pursue their research in the library.
Professor Stuart Hall (1932 – 2014) was actively engaged in the arts throughout his life, and in particular the visual arts. He championed the establishment of Iniva and chaired its board for more than a decade. Professor Stuart Hall worked closely with artists, filmmakers and photographers, writing about the visual arts, informing critical thinking and influencing public policy on arts education.
The Stuart Hall Library Artist’s Residency is an annual funded opportunity established in partnership between Iniva and the Stuart Hall Foundation, building on Stuart Hall’s unique contribution to intellectual and cultural life, and the distinct connections between both organisations. The three-month residency allows a visual artist the space to think about some of the key themes related to the work of Iniva and the Foundation, including the language of the diaspora, culture, identity and archiving.
Building on the distinct connections between both organisations, the residency offers a visual artist the opportunity to develop their practice by excavating the ideas contained within the library, taking the writings of Professor Stuart Hall as a starting point.
We are particularly interested in working with an artist or artist collective whose practice is informed by perspectives on politics, identity and activism; who is interested in the language of the international and ideas around diaspora; and whose methodology may relate to notions of archiving and the archival.
We do not expect a fixed outcome of the residency and want to emphasise that the prime focus of this residency is the process of research itself. However, the artist will be expected to produce a digital output of their choice (e.g. short film, sound, blog post, animated presentation etc.) for archival purposes and to co-organise a public event which allows sharing of reflections or work in progress from the residency. The form of the digital output and the event will be agreed with the artist as appropriate to their practice.
The artist is expected to be to in residence over a three-month period and to spend at least five days per month researching in the library. As the library is in constant use, the artist will be unable to have a studio/production space on site. The residency does not include accommodation.
The development of the collection takes Professor Stuart Hall’s work as a guiding principle, and in keeping with this, the library collects around art, which takes issues such as cultural identity as its theme. The library includes over 10,000 volumes. There are over 4,000 group exhibition catalogues, 3,500 works on individual artists, and 2,500 contextual, historical or theoretical works as well as over 200 periodical titles and over 200 zines.
Please subscribe to the Stuart Hall Foundation newsletter to hear about future opportunities.
Rosa began her residency in May 2020. The jurors selected Uddoh for her ongoing interest in her practice concerning the construction of the performative act and characterisation in popular culture that produces the black or British subjectivity. Uddoh’s previous work has drawn on popular figures such as Moira Stuart, Hercule Poirot, Venus Williams, Una Marson.
During this time, Uddoh will focus on researching Stuart Hall’s lectures and other archival material available online. Uddoh explains that she will be
“using the library resources to contextualise his charismatic presentations with performance art of the time.” She plans “to study Hall’s Open University lectures as performances for late-night television and his published papers as scripts. Exploring Hall as both performance theorist and performer himself, this research will culminate in a pantomime.”
Through this research, Uddoh will explore Hall’s commitment to disseminating knowledge through different media channels, which acquires a renewed sense of urgency in the context of the current global situation. A public event will be presented towards the end of the year.
The Stuart Hall Library Artist’s Residency is an annual funded opportunity established in partnership between Iniva and the Stuart Hall Foundation.
Sepake Angiama, Artistic Director at Iniva said:
“We are happy that Iniva and Stuart Hall Foundation can come together to support the development of Rosa-Johan Uddoh’s work and continued research through archive collections especially at this time. Rosa’s residency will begin by using archive material and we are excited to see how she will work with the material to think through the performative and gestural media apparatuses in Hall’s own life.”
Ruth Borthwick, Executive Director of Stuart Hall Foundation, said:
“The Stuart Hall Foundation is thrilled that Rosa-Johan Uddoh is to be the fourth Stuart Hall Library Artist in Residence. Her careful reading of Stuart’s memoir ‘Familiar Stranger’ in which she notices the reference to pantomime in Stuart’s childhood in Jamaica and links it with his own extraordinary ability as a communicator is exciting. I can’t wait to see how she creates her own modern pantomime in response.”
Building on the distinct connections between both organisations, the residency allows a visual artist the space to think about some of the key themes related to the work of Iniva and the Foundation, including the language of the diaspora, culture, identity and archiving.
About Rosa-Johan Uddoh
Rosa-Johan Uddoh (b.1993, Croydon) is an interdisciplinary artist working towards radical self-love, inspired by black feminist practice and writing. Through performance, installation, ceramics, video and sound, she explores an infatuation with places, objects or celebrities in British popular culture, and the effects of these on self-formation.
Rosa studied Architecture BA at Cambridge University and MA Fine Art at The Slade (University College London) as a Sarabande Foundation scholar. Recently, Rosa has shown work at: Tate Modern, Jupiter Woods (solo), Black Tower Projects (solo), Nottingham Contemporary and New Contemporaries 2018. She is a Liverpool Biennial & John Moores University Fellow and a Lecturer in Performance at Central Saint Martins.
Alicja Rogalska will be in residence at Iniva’s Stuart Hall Library from April to July 2019. Rogalska’s proposed research project explores Stuart Hall’s ideas of citizenship through his writings on classification as fundamental to human culture and, simultaneously, as a system of power. The research will situate Stuart Hall’s work within the contemporary context of immigration law and global citizenship discourse utilising the Stuart Hall Library, itself, as a site of classification.
The Stuart Hall Library Artist’s Residency is an annual funded opportunity established in partnership between Iniva and the Stuart Hall Foundation. Building on the distinct connections between both organisations, the three-month residency allows a visual artist the space to think about some of the key themes related to the work of Iniva and the Foundation, including the language of the diaspora, culture, identity and archiving.
About Alicja Rogalska
Alicja Rogalska is an artist living in London and working internationally. Her practice is research-led, interdisciplinary and focuses on social structures and the political subtext of the everyday. She mostly works in specific contexts making situations, performances, videos and installations in collaboration with other people. Her projects are attempts to practise a different political reality in the here and now, create space for many voices to be heard and to co-exist, whilst collectively searching for emancipatory ideas for the future.
Alicja graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from Warsaw University. She was artist in residence at PARADISE AIR in Matsudo/Tokyo, MuseumsQuartier in Vienna, IASPIS in Stockholm, MeetFactory in Prague, National University of Colombia in Bogota and TATE Britain in London. She attended the Home Workspace programme at Ashkal Alwan in Beirut, received grants from Arts Council England, Instytut Adama Mickiewicza, European Cultural Foundation and artist bursaries from Artsadmin and a-n. She is currently leading social practice Peer Forum at Peckham Platform/Artquest, participating in Syllabus IV and working on Radical Thinking, a solo commission for Focal Point Gallery and Art Exchange in collaboration with the Faculty of Social Sciences at Essex University.
Selected through a hugely popular open call, the collective Squirrel Nation was in residence at Iniva’s Stuart Hall Library from February to April 2018. The three members of the collective – filmmaker Erinma Ochu, visual artist Caroline Ward and curator Bianca Manu – will explore the evolution of diasporic identities and how a sense of belonging or isolation is shaped in the context of cultural and social locations, and technology.
Taking the archival material as a starting point, Squirrel Nation will use social media and modern technologies to develop a forward-looking approach to explore how individual experiences of diasporic communities today relate to the experiences of previous generations. By finding cultural ‘touchpoints’ between the generations, Squirrel Nation will create an artistic intervention to rethink the politics of blackness, diversity and inclusion
About Squirrel Nation
Squirrel Nation is an international collective comprised of visual artists, writers, designers, sound artists, scientists and curators who create experimental works across a range of settings. The core members are filmmaker Erinma Ochu, visual artist Caroline Ward and curator, Bianca Manu.
Caroline Ward is a deaf visual artist and experience designer, trained originally in fine art and film. She is interested in intersectionality and the crossovers between nature-culture and technology. She has innovated future experiences at BBC and as Digital Associate for The Space. She is currently studying at The Royal College of Art.
Erinma Ochu is a filmmaker and writer, originally trained as a neuroscientist. She’s interested in the afterlives of creative practice and what remains from creating or experiencing intersectional work. She recently held a Jerwood fellowship with Manchester International Festival, attached to Yael Bartana’s What if Women Ruled the World. She teaches at The University of Salford.
Bianca Ama Manu is a curator and producer invested in exploring socio-political, environmental, new media and identity matters. Working between London, UK and Accra, Ghana, past work includes the Wellcome Collection and The Netherlands Embassy, Ghana. Her current role is as curator for Nubuke Foundation, an arts foundation in Accra
On the Desert Island by Ting-Ting Cheng (2017)
Stuart Hall Foundation and Iniva (Institute of International Visual Arts) launched of On the Desert Island, an interactive audio site-specific work by artist Ting-Ting Cheng which was presented in Iniva’s Stuart Hall Library (1 June – 1 December 2017). The artwork is the outcome of the first ever Stuart Hall Library Artist’s Residency.
Offering a unique way to explore Iniva’s remarkable collection, On the Desert Island takes its cue from Professor Stuart Hall speaking to Sue Lawley on BBC Radio 4’s Desert Island Discs in February 2000. On the long-running radio show, the presenter asks the guest to punctuate their conversation with eight records they would choose to take with them if they were cast away on a desert island.
Ting-Ting Cheng draws on the recording of Professor Stuart Hall’s interview to create an audio map which imagines the Stuart Hall Library as islands with its bookshelves and contents as land mass to be negotiated. Using the library’s categorisation system that places exhibition catalogues according to their geographical location, the artist’s tour encourages the listener to wander between Great Britain and Jamaica as if they were part of an archipelago. On this physical journey they will follow Professor Stuart Hall’s conversation about identity and diversity 17 years ago in the context of Britain today. Revisiting Professor Stuart Hall’s commentary On the Desert Island casts a curious light on today’s political, social and cultural realities where issues of sovereignty and the rise of uncontained xenophobia are as prophetic as he imagined.
On the Desert Island was vailable to listen to in the Stuart Hall Library from 1 June until 1 December 2017. The work is available as a free, solo, 45-minute experiential journey around the Stuart Hall Library. For this reason, pre-booking is essential. To book your place, please e-mail firstname.lastname@example.org.
To celebrate the launch of Ting-Ting Cheng’s On the Desert Island, the outcome of the first ever Stuart Hall Library Artist’s Residency, Ting-Ting was in conversation with Stephanie Moran, Iniva’s Library Manager.
Offering a unique way to explore Iniva’s remarkable collection, On the Desert Island takes its cue from Professor Stuart Hall speaking to Sue Lawley on BBC Radio 4’s Desert Island Discs in February 2000. On the long-running radio show, the presenter asks the guest to punctuate their conversation with eight records they would choose to take with them if they were cast away on a desert island. Ting-Ting Cheng draws on the recording of Professor Stuart Hall’s interview to create an audio map which imagines the Stuart Hall Library as islands with its bookshelves and contents as land mass to be negotiated.
Find our more about the Stuart Hall Library Residency here.
The Stuart Hall Library Residency has been jointly funded by Iniva and the Stuart Hall Foundation.
Elaine Mitchener’s SWEET TOOTH premiered at Bluecoat, Liverpool in 2017. It’s a powerful music theatre performance interrogating historical links between sugar and slavery, by acclaimed vocalist and movement artist Elaine Mitchener.
This ambitious 50 minute music theatre piece used text, improvisation and movement, to stage a dramatic engagement with the brutal realities of slavery revealed by the historical records of the sugar industry, and to reveal its contemporary echoes.
SWEET TOOTH marked the culmination of five years’ research by Mitchener into our love of sugar and the historical links between the UK sugar industry and the Transatlantic Slave Trade.
Bluecoat is especially resonant, as in 1717 the building was originally a charity school for orphans that relied on subscriptions and donations from many families involved in slavery or slave-related industries like sugar, tobacco and cotton.
SWEET TOOTH has been supported with public funding from Arts Council England. Commissioned by Bluecoat in partnership with the Stuart Hall Foundation, London and The International Slavery Museum with further support from PRSF Open Fund, Edge Hill University, Centre 151 and St George’s Bloomsbury.
SWEET TOOTH is a cross-disciplinary music theatre piece devised by vocal and movement artist Elaine Mitchener. It uses text, improvisation and movement to stage a dramatic engagement with the brutal realities of slavery, as revealed by historical records of the British sugar industry and to illuminate its contemporary echoes. The work was commissioned by Bluecoat Liverpool in partnership with the Stuart Hall Foundation and the International Slavery Museum. It was premiered at the Bluecoat, LiverpoolinNovember2017andatSt.George’sBloomsbury,LondoninFebruary2018.
Gilane Tawadros (GT): How did you come to conceive SWEET TOOTH as a performance work?
Elaine Mitchener (EM): Musical ideas spring from the strangest sources. The idea for SWEET TOOTH came from a shared addictionofScottish Tablet with my late father. That crumbly sweet substance sparked many questions in my mind concerning the deadly cost to human life and livelihood of one race in order to feed the addiction and greed of another; and how far people will go to satisfy their desire to gain wealth and satiate an appetite.
The Sugar Trade and the enslavement of millions of Africans, represented the zenith of capitalism; in other words, the removal of its most costly item: paying people for their work. By dehumanising one race, another gained in prosperity and wealth and the vast funds received in turn were used to develop Western society at all levels – education, culture, medicine, science – which we profit from today.
How could I tackle this vast topic through music? Was music the right medium through which to examine this area of human history? Did I have a right to? I had no idea how all-consuming this exciting journey would be.
My practice works primarily in movement and voice. Over the last five years working collaboratively with the choreographer Dam Van Huynh, I have created a technique which is grounded in classical vocal training (my teacher Jacqueline Bremar is brilliant) but also enables me to employ the physicality of contemporary dance. My philosophy of encounter-enact-engage allows me to develop and devise works combining found texts, sound, movement, vocalization, improvisation, and collaboration to create intimate and experimental music theatre performance pieces. Pulling together a team of extraordinary musicians, Sylvia Hallett, Marks Sanders and Jason Yarde along with Dam Van Huynh and invaluable guidance and insight from historian Christer Petley, we undertook two years of research and development.
I started creating from a blank space. The only definite idea I had was that I knew I wanted people to experience the work live and that sound would be integral. Through reading research, discussion and learning, it became clear to me that the work required a strong aural basis and not just a physical one. Meditating on what it might have been for enslaved Africans to experience the unknown and the sound and smell of fear, the strength, self-determination and resolve of rebellion; the essential activity of song and dance as a constant reminder of one’s own humanity, history, tradition; these became the cornerstones of the work from which I was able to build a skeletal framework to hang ideas on.
The next stage was to ask the team to engage with the topic fully and to find their own personal ways into it. To embody the feelings for themselves; place themselves and their families into the situation and to express their reactions musically. What became clear (and what I had in mind) was that this work was not going to be a comfortable experience for us or the audience and it ought not be. I will have failed if people applaud loudly, whoop and cheer. So far the response has been silent reflection and thoughtful discussion afterwards, but I can’t prevent an audience from responding to the work in a more enthusiastic way.
GT: SWEET TOOTH is a very uncomfortable piece to experience and it is an experience rather than a spectacle. It draws you in to a sequence of episodes or movements but has no overarching, linear narrative as you would expect from a fictional novel or a historical account. Can you say some more about the piece’s relationship to historical research and how your approach to source material differs from that of a historian?
EM: It’s such an immense subject that it was very clear early on that I would need to work with an expert to check facts and to alert me to current research and resources that might prove useful to the development of my ideas around the work and how to present it. Working with Dr Christer Petley proved
invaluable and I believe we learnt a lot from each other. I wanted to avoid voyeurism, victim ‘porn’ or any kind of spectacle and the idea was to try and evoke an unnerving sense of tension, claustrophobia and entrapment. Of course, one can never know what that really felt like, but we have narratives and accounts, diaries which describe each step of the experience, albeit mainly from the oppressor’s point of view.
Not being a historian enabled me to focus on other aspects of the source material. Being a musician, I decided to draw the audience’s attention to sound as the narrative, the sound of people, their voices, their expression of rage, fear, defiance, joy, comfort. These would be reminders that, although reduced by their oppressors to being part of the huge machinery of slavery, enslaved Africans were people who dreamed, loved, hoped and resisted, and finally overcame.
The vast knowledge base of historians is enviable. They are able to digest what they’ve painstakingly researched and re-present it for public understanding. However, I find that this is all conducted in a clinical way, as though these events are being viewed under a microscope or at arm’s length. The purpose of SWEET TOOTH was to give a voice to those millions of people lost to slavery. Recalling their given names reminds us of their humanity. Referencing their work songs and rituals allows us to honour the culture which they developed and the legacy of which remains to this day. My job was to liberate the dry historical facts and somehow breathe life into them.
It was a challenge for me to view the historical material researched with an academic eye. I had to seek ways to absorb information, much of which was deeply upsetting, disturbing and difficult to accept. I had to digest it as historical fact and allow myself to find a creative and artistic response to it.
My decision to work abstractly with words was a conscious one in that I did not want them to obstruct the sound experience. Where words are used, they are used sparingly and are quickly fractured. Because SWEET TOOTH is also a visual work, I felt strongly that any ‘narrative’ could be felt and heard without the use of words.
GT: Can you say something about the episodic structure of SWEET TOOTH which has been conceived as a series of distinct chapters or movements?
EM: The decision to call these movements ‘chapters’ was a deliberate way of anchoring the work and the fact that it concerns a tragic episode, not only in the history of black people but in the history of humanity. This holocaust has repeated itself at different periods of human history. I employed a creative
semantic approach to liberate the source text material from books. Slavery in the British Caribbean was operated at a conveniently safe distance (not within the British Isles as in North America), and therefore I couldn’t draw upon personal familial accounts or records. In this way I was more like an historian because of the slight impersonal distance.
GT: You are also a jazz musician, working with other musicians and using improvisation and other techniques to create unique sounds and compositions. How has this influenced the way in which you approached and composed SWEET TOOTH?
EM: I consider myself as a musician who works across and draws on difference genres: experimental/free-jazz, avant-garde contemporary new music, gospel, Afro-Caribbean (Jamaican) music, free-improvisation and I think these influences can be heard in this work. I never thought about ‘composing’ the work. Having worked with composers and performed works by composers, I realised that my approach would need to be different to work effectively. I always wanted a sonic experience and with movement SWEET TOOTH is a work that is seen and felt. Early on I imagined it as a radio piece (so I’m pleased it was eventually broadcast on BBC Radio 3), but as the piece developed over two years it told me that it also had to be a visual / movement experience. Lighting also plays a musical part in this work and Alex Johnston has designed incredibly striking lighting moods which move the work forward.
The artists I have brought together for this project bring with them a wealth of experience and expertise along with an openness to trying new ideas. We are all well versed in the world of free-improvisation, however, for SWEET TOOTH I knew its musical world couldn’t be defined or restricted in this way. So we came together to workshop and research ideas and devise the piece along with Dam who was invaluable in helping us to access organic natural movement whilst playing.
Over time I was able to construct a method of structured improvisation upon which we were able to hang the skeletal form of the work. This method allows us the freedom to improvise whilst retaining the structural, musical form of the work. So although the concept is mine, how we arrive at realising it is very much a collective effort. My job was to work out what to retain or mull over an idea and to have the confidence to discard something because it’s not right for the work. It’s very important that each of us feels ownership of the work and finds our own narrative that can be communicated. It then becomes a powerfully direct statement of humanity to humanity.
GT: The events and experiences to which SWEET TOOTH refers took place in the historical past. What can this past teach us in the present?
EM: According to Michael Craton in his book Testing the Chains: Resistance to Slavery in the British West Indies, ‘Historians who believe history to be the story of man’s rise to civilisation tend to define civilisation to include the acceptance by all classes of their place with the socioeconomic system.’ Even from a liberal point of view its appearance is essentially that of accommodation and acceptance. These ideas have been challenged by writers and commentators such as CLR James and Herbert Aptheker, also the Jamaican writer and cultural theorist Sylvia Wynter and her theory of the human, which she discusses in her essay “Unsettling the Colonially of Being/Power/Truth/Freedom: Towards the Human, after Man, Its Overrepresentation – An Argument.” The Atlantic Slave Trade, the Middle Passage, which largely took place during the so-called Age of Enlightenment, marked a brutal and catastrophic period of human history. The past teaches us a lesson that we seem unable to understand and learn from: humanity’s capacity for inhumanity. Professor Catherine Hall said that it’s easy to think that those involved in the slave trade are different to us, that we are different to them. We are not. Only when we acknowledge this simple truth are we able to change and make changes.
Gilane Tawadros is Vice-Chair of the Stuart Hall Foundation.
SWEET TOOTH has been supported with public funding from Arts Council England. Commissioned by Bluecoat in partnership with the Stuart Hall Foundation, London and The International Slavery Museum with further support from PRSF Open Fund, Edge Hill University, John Hansard Gallery, Centre 151 and St George’s Bloomsbury.