The Stuart Hall Project

Last updated

The Stuart Hall Project
The Stuart Hall Project poster.jpg
Film poster
Directed by John Akomfrah
Written by John Akomfrah
Produced bySmoking Dogs Films
Lina Gopaul
CinematographyDewald Aukema
Edited byNse Asuquo
Release date
Running time
96 minutes
CountryUnited Kingdom
LanguageEnglish

The Stuart Hall Project is a 2013 British film written and directed by John Akomfrah centred on cultural theorist Stuart Hall, who is regarded as one of the founding figures of the New Left and a key architect of Cultural Studies in Britain. The film uses a montage of documentary footage together with Hall's own words and thoughts to produce what Peter Bradshaw of The Guardian called "an absorbing account", awarding it four stars and stating that it has "an idealism and high seriousness that people might not immediately associate with the subject Hall pioneered". [1] Sight & Sound magazine's Ashley Clark described it as "a strongly personal work" that "unfolds simultaneously as a tribute to a heroic figure, a study of the emergence of the New Left and its attendant political ideas, and a summation, in thematic and technical terms, of the key characteristics of Akomfrah’s body of work thus far (intertextuality, archival manipulation, a focus on postcolonial and diasporic discourse in Britain)." [2]

Contents

Summary

The Stuart Hall Project, together with Akomfrah's three-screen video installation The Unfinished Conversation , tells the story of cultural theorist Stuart Hall narrated through Hall's archived audio interviews and television recordings. Akomfrah explores the myriad ways that Hall influenced black British constructions of identity in the second half of the 20th century. [3] Hall appeared on the British radio and television for more than 50 years and spent his whole career exploring how social change makes sense of who we are, what we are entitled to and what society makes available to us.

Hall continually engages the hybridity and complexity of identity and its relationship to sociopolitical and sociocultural phenomena. He comments that, similar to Miles Davis’s trumpet, it is the seemingly most mundane portions of everyday life that can affect the person we become and more broadly provide an accurate barometer of social change. Society is infinitely changing, and must be closely analyzed in order to pinpoint exactly what catalyses such change, as the cause can be the most subtle. [4] "Where do you come from?" is expected to be followed up with a long story. [4]

The immigrants of the Caribbean opened up the ideas that the notions of ourselves and our values of where we live are not always translatable from one value to another. Hall says the theory that full assimilation is possible, or that the people who came over two generations would disappear into the host family and become more or less indistinguishable from them, was a dream or illusion to be buried on both sides. Youth began to answer the question "Who am I?" with: "I am the person who is refusing that identity." [5]

Young blacks of the 1970s, who were being alienated from identifying as British, emerged from this deep crisis of identity by coming to the realization that the complex things that made them black could never be traded away. Instead of being complacent about confronting racism, according to Hall black youth came to understand that in order to truly contest a problem it is imperative that you mobilize. It is in that moment that the archaic ideals of "perfect assimilation" in Britain die and the multi-cultural society comes to life: "we are not going to stay on the terms of becoming just like you." [5]

Style

In an interview, director Akomfrah discusses his thought process and intention in documenting Hall's life. [5] The film presents available archives, while playing a Miles Davis soundtrack with purpose. The interplay of music, visual archive, and the ongoing narrative of Hall theorising black British identity construction is a cinematographic ongoing theme. Akomfrah uses the interplay to elucidate Hall's critical theorisation that everyday lived experiences (examples given included waiting in line at the labour department, on public buses, etc.) of interracial interaction aggregate to create social change. As multicultural subjectivities become increasingly prevalent in what were culturally white British spaces, this phenomenon becomes all the more complicated. This exchange between identity and creation of a multicultural social reality is evident in the video clip of Hall debating the white woman about refugees from Kosovo and whether the UK should serve as a new space for them.

Akomfrah assembled the transnational pieces of those stories by showing minimally contextualised photo and video historical archives of global historical events, everyday goings on, and from Hall's own life. While the images themselves seem tangential at times they become contextualised when placed with the musical score and Hall's critical narrative. One example of this is when Hall is explaining the racially biased media rhetoric surrounding reports of a "mugging epidemic" in Britain. This narrative is paired with ominous light piano music, and a beautiful wedding portrait of a late 19th-/early 20th-century black British couple. The pairing of the lovely image and the contemporaneous racist dialogue shows the interaction between everyday lived experience and the construction of social phenomena. In this way, Akomfrah's depiction of people's everyday lived-experiences works seamlessly in conjunction with Hall's theorisation of how such everyday experiences create large-scale social movement. [4]

The Importance of Miles Davis

With the help of sound designers Trevor Mathison and Robin Fellows, Akomfrah's The Stuart Hall Project is an example of improvisation between the narrative device and jazz music, in this instance the music of Miles Davis. Akomfrah explains: "The Miles Davis music provided you with a kind of marker of time, which is much more explicit I felt than The Unfinished Conversation. Miles was there because I thought it gave you a kind of sonic map of a devolving postwar world, but it crucially also gave you the dates, which subliminally told you the content in which the music, as well as the images and Hall’s voice, were unfolding." [6]

Furthermore, Miles Davis’ music played a huge influence on the Stuart Hall Project’s tone and overall arching themes. The Stuart Hall Project ties in the music of Miles Davis along with the overarching themes of identity formation, roots, nation-state and how one’s birth ties in with one’s location. Miles Davis’ music provides the opportunity for the audience viewer to experience a journey of transformation through his trumpet and music. The sounds of the trumpets coincided well with Hall's thoughts on identity formation and hybridity. Pointing out the history of Jazz music is important because the roots of Jazz are tied deeply within the African-American experience. Jazz music is created with the intention of having instruments played together in harmony, but also having the opportunity for the instruments and music to go way off the tracks into improv. This is similar to Stuart Hall's thoughts about identity formation in that sometimes one's identity is harmonious and clearly understood. While other times, one individual may not exactly understand one's identity and “go way off the tracks”. The use of Miles Davis’ music is important because it highlights the ways in how music plays a huge role in informing identity, reflecting on one's real life, and lived experiences.

Hybridity

The Stuart Hall Project demonstrates the failures of "origin" and static identity. Hall says that he has not one origin "but five", and that "Jamaica is his birthplace, and Britain is his home, but he would never consider himself British." [5] Race, and specifically blackness, is used as a lens to probe the ways that skin color informs how birthplace conflates with one's sense of home, and how that conflates with belonging. This is first seen among Hall's own family, when he expresses multiple times that he did not feel a part because of his skin complexion. They also forbade his sister from marrying a black man, and their attitudes and rejections of all things black created a break in Hall's identity politics. He realized that the path he was forging for himself was not and could not be consistent with his family's because of his skin, and that Jamaica though integral to his process of learning and growing was very far from somewhere he could categorize as home. The interactions he had with people from the West Indies, from Africa, from the Caribbean, from East India, and other parts of the world (all while in Britain) opened his eyes to the complexities of identity such that he understood the co-construction of identity between oneself and the politics occurring around one. There is no one origin, and individuals do not exist within themselves; people are all "something else" despite the continuous effort to situate ourselves within a specific place and time. [5]

Related Research Articles

<span class="mw-page-title-main">Ron Carter</span> American musician and composer (born 1937)

Ronald Levin Carter is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history. He has won three Grammy Awards, and is also a cellist who has recorded numerous times on that instrument. In addition to a solo career of more than 60 years, Carter is well-known for playing on numerous iconic Blue Note albums in the 1960s, as well as being the anchor of trumpeter Miles Davis's "Second Great Quintet" from 1963-1968.

<span class="mw-page-title-main">Stuart Hall (cultural theorist)</span> British Marxist sociologist, cultural theorist, and political activist (1932–2014)

Stuart Henry McPhail Hall was a Jamaican-born British Marxist sociologist, cultural theorist, and political activist. Hall — along with Richard Hoggart and Raymond Williams — was one of the founding figures of the school of thought known as British Cultural Studies or the Birmingham School of Cultural Studies.

<span class="mw-page-title-main">Paul Gilroy</span> British historian (born 1956)

Paul Gilroy is an English sociologist and cultural studies scholar who is the founding Director of the Sarah Parker Remond Centre for the Study of Race and Racism at University College London (UCL). Gilroy is the 2019 winner of the €660,000 Holberg Prize, for "his outstanding contributions to a number of academic fields, including cultural studies, critical race studies, sociology, history, anthropology and African-American studies".

<span class="mw-page-title-main">Sikhism and sexual orientation</span> Religious views of sexuality

Sikhism has no specific teachings about homosexuality and the Sikh holy scripture, the Guru Granth Sahib, does not explicitly mention heterosexuality, homosexuality or bisexuality. The universal goal of a Sikh is to have no hate or animosity to any person, regardless of factors like race, caste, color, creed or gender.

<span class="mw-page-title-main">Ekow Eshun</span> British writer (born 1968)

Ekow Eshun is a British writer, journalist, broadcaster, and curator.

<span class="mw-page-title-main">James Mtume</span> American jazz and R&B musician (1946–2022)

James Forman, known professionally as Mtume or James Mtume, was an American jazz and R&B musician, songwriter, record producer, activist, and radio personality.

The Last Angel of History is a 45-minute documentary, directed in 1996 by John Akomfrah and written and researched by Edward George of the Black Audio Film Collective, that deals with concepts of Afrofuturism as a metaphor for the displacement of black culture and roots. The film is a hybrid documentary and fictional narrative. Documentary segments include traditional talking-head clips from musicians, writers, and social critics, as well as archival video footage and photographs. Described as "A truly masterful film essay about Black aesthetics that traces the deployments of science fiction within pan-African culture", it has also been called "one of the most influential video-essays of the 1990s, influencing filmmakers and inspiring conferences, novels and exhibitions".

<i>Agharta</i> (album) 1975 live album by Miles Davis

Agharta is a 1975 live double album by American jazz trumpeter, composer, and bandleader Miles Davis. By the time he recorded the album, Davis was 48 years old and had alienated many in the jazz community while attracting younger rock audiences with his radical electric fusion music. After experimenting with different line-ups, he established a stable live band in 1973 and toured constantly for the next two years, despite physical pain from worsening health and emotional instability brought on by substance abuse. During a three-week tour of Japan in 1975, the trumpeter performed two concerts at the Festival Hall in Osaka on February 1; the afternoon show produced Agharta, and the evening show was released as Pangaea the following year.

Richard Williams is a British music and sports journalist.

Trey Ellis is an American novelist, screenwriter, professor, playwright, and essayist. He was born in Washington D.C. and graduated from Hopkins School and Phillips Academy, Andover, where he studied under Alexander Theroux before attending Stanford University, where he was the editor of the Stanford Chaparral and wrote his first novel, Platitudes in a creative writing class taught by Gilbert Sorrentino. He is a professor of Professional Practice in the Graduate School of the Arts at Columbia University.

<i>Trumpet</i> (novel) 1998 book by Jackie Kay

Trumpet is the debut novel from Scottish writer and poet Jackie Kay, published in 1998. It chronicles the life and death of fictional jazz artist Joss Moody through the recollections of his family, friends and those who came in contact with him at his death. Kay stated in an interview that her novel was inspired by the life of Billy Tipton, an American jazz musician who lived secretly as a transgender man in the mid-twentieth century.

<span class="mw-page-title-main">John Akomfrah</span> British artist, filmmaker, curator (born 1957)

Sir John Akomfrah is a British artist, writer, film director, screenwriter, theorist and curator of Ghanaian descent, whose "commitment to a radicalism both of politics and of cinematic form finds expression in all his films".

<span class="mw-page-title-main">Todd Cochran</span> Musical artist

Todd Cochran is an American pianist, composer, keyboardist, essayist and conceptual artist. Early in his career he was also professionally known as Bayeté. Cochran started his career as a teenager with saxophonist John Handy. Two years later he joined vibraphonist Bobby Hutcherson’s Quartet, and made his jazz recording debut composing and performing on a benchmark album for Hutcherson, "Head On" that featured a nineteen-piece ensemble. The recording was critically hailed as cross-pollinating the evolving contemporary modal jazz, avant-garde sound of the 1970s. Cochran’s first solo project "Worlds Around the Sun" became a #1 jazz album and marked his entree into the jazz discussion. From the mid 1970s forward Todd has experimented with and incorporated synthesizers, electronic and mixed-media concepts in his creative projects while collaborating with a wide range of artists in the genres of jazz, art rock, pop, R&B, and twenty-first-century classical.

Practice theory is a body of social theory within anthropology and sociology that explains society and culture as the result of structure and individual agency. Practice theory emerged in the late 20th century and was first outlined in the work of the French sociologist, Pierre Bourdieu.

Cultural studies is a politically engaged postdisciplinary academic field that explores the dynamics of especially contemporary culture and its social and historical foundations. Cultural studies researchers generally investigate how cultural practices relate to wider systems of power associated with, or operating through, social phenomena. These include ideology, class structures, national formations, ethnicity, sexual orientation, gender, and generation. Employing cultural analysis, cultural studies views cultures not as fixed, bounded, stable, and discrete entities, but rather as constantly interacting and changing sets of practices and processes. The field of cultural studies encompasses a range of theoretical and methodological perspectives and practices. Although distinct from the discipline of cultural anthropology and the interdisciplinary field of ethnic studies, cultural studies draws upon and has contributed to each of these fields.

The Black Audio Film Collective (BAFC), founded in 1982 and active until 1998, comprised seven Black British and diaspora multimedia artists and film makers: John Akomfrah, Lina Gopaul, Avril Johnson, Reece Auguiste, Trevor Mathison, Edward George and Claire Joseph. Joseph left in 1985 and was replaced by David Lawson. The group initially came together as students at Portsmouth Polytechnic, and after graduation relocated to Hackney in east London.

The Unfinished Conversation is a 2012 multi-layered three-screen installation directed by John Akomfrah, co-founder of the Black Audio Film Collective. Through his celebrated technique of juxtaposing and layering archive footage with text, music and photographs, Akomfrah crosses the memory landscape of Stuart Hall, Jamaican-born founder of British Cultural Studies, to reflect on the nature and complexities of memory and identity. The Unfinished Conversation was commissioned by Autograph ABP. It opened at Tate Britain, London, on 26 October 2013, following its premiere at Bluecoat during the 2012 Liverpool Biennial.

<span class="mw-page-title-main">Mark Sealy</span> British curator and cultural historian (born 1960)

Mark Sealy is a British curator and cultural historian with a special interest in the relationship of photography to social change, identity politics and human rights. In 1991 he became the director of Autograph ABP, the Association of Black Photographers, based since 2007 at Rivington Place, a purpose-built international visual arts centre in Shoreditch, London. He has curated several major international exhibitions and is also a lecturer.

<span class="mw-page-title-main">Tomorrow's Warriors</span> British music education organisation (founded 1991)

Tomorrow's Warriors (TW) is a jazz music education and artist development organisation that was co-founded in 1991 by Janine Irons and Gary Crosby, committed to championing diversity, inclusion and equality across the arts through jazz, with a special focus on "Black musicians, female musicians and those whose financial or other circumstances might lock them out of opportunities to pursue a career in the music industry". Crosby drew inspiration from having been a member of the Jazz Warriors, a London-based group of musicians that in the 1980s showcased many young Black British musicians who went on to achieve international success.

Black British identity is the objective or subjective state of perceiving oneself as a black British person and as relating to being black British. Researched and discussed across a wide variety of mediums; the identity usually intersects with, and is driven by, black African and Afro-Caribbean heritage, and association with African diaspora and culture.

References

  1. Peter Bradshaw, "The Stuart Hall Project – Review", The Guardian, 5 September 2013.
  2. Ashley Clark, "Film of the week: The Stuart Hall Project", Sight & Sound, 29 September 2014.
  3. "The Stuart Hall Project (2013)", BFI, Film Forever.
  4. 1 2 3 The Stuart Hall Project. Dir. John Akomfrah. Prod. Lina Gopaul and David Lawson, Smoking Dogs Films. 2013. DVD.
  5. 1 2 3 4 5 Akomfrah, J. The Stuart Hall Project (film) (2013 ed.).
  6. Korossi, Georgia. "The Stuart Hall Project: John Akomfrah interview". British Film Institute. Retrieved 26 January 2015.