Black Futurity in a Photographic Frame

&#8217;Black Futurity in a Photographic Frame&#8217; stages an encounter with a collection of images that articulate the historical and contemporary grammar of black futurity resulting from the criminalization and mass incarceration of black bodies in the US. It engages a remarkable set of Tumblr photos and their reappropriation by African American youth struggling to develop a practice of refusing the statistical probability of premature death in the twenty-first century. Tina Campt is Ann Whitney Olin Professor of Africana and Women’s, Gender, and Sexuality Studies, Director of the Barnard Center for Research on Women, Chair of the Africana Studies Department at Barnard College and affiliated with Columbia University (IRWGS). Having taught at Duke University, UC-Santa Cruz, and the TU Berlin, she joined the Barnard faculty in NYC in 2010. She has received grants and fellowships from the American Association of University Women, DAAD, and the Social Science Research Council. She is the author of Other Germans: Black Germans and the Politics of Race, Gender, and Memory in the Third Reich (2004), Image Matters: Archive, Photography, and the African Diaspora in Europe (2012), and the forthcoming Listening to Images. WebsiteTina Campt, Black Futurity in a Photographic Frame, lecture, ICI Berlin, 24 October 2016, video recording, mp4, 31:40 <https://doi.org/10.25620/e161024

Desiring Bollywood: Re-staging racism, exploring difference

In this article I engage with the insights that emerged through the making of Desiring Bollywood, a collaborative ethno-fiction project I produced in 2018. The project recruited academics, amateur actors, novice filmmakers, and enthusiastic university students to narrate the story of Jason, an aspiring actor and filmmaker from Nigeria who I first met in 2013 soon after his release from Tihar Prison in Delhi, India. My goals are two-fold: first, to share a few scenes from the film – embedded in this article as video clips – to broadly theorize the affordances and limits of what I call re-staging, the collaborative, performance-based multimodal method we devised and deployed to produce Desiring Bollywood. Second, and more central to the article, I aim to analyze these very same scenes to show how re-staging, as it offered participants involved in the project the opportunity to reflexively explore how Jason’s experiences of discrimination in Delhi and the aspirations and desires that led him there in the first place, create a rich site of analysis to engage with the nuances of anti-Black racism in India in a moment where ‘India-Africa’ economic relationships are on the rise. RESUMEN En este artículo examino el entendimiento que surgió a través de la producción de Desiring Bollywood, un proyecto colaborativo de etno-ficción que realicé en 2018. El proyecto reclutó académicos, actores amateurs, productores cinematográficos novicios y entusiastas estudiantes universitarios para narrar la historia de Jason, un aspirante a actor y productor cinematográfico, de Nigeria a quien conocí en 2013, poco después de su puesta en libertad de la Prisión Tihar en Delhi, India. Mi propósito es doble: primero, compartir algunas escenas del filme – embebidas en este artículo como video clips– para teorizar ampliamente las affordances y límites de lo que llamo remontaje, el colaborativo método multimodal basado en performance, que nosotros ideamos y utilizamos para producir Desiring Bollywood. Segundo, y más central al artículo, tengo como objetivo analizar estas mismas escenas para mostrar cómo el remontaje, en la medida que ofreció a los participantes involucrados en el proyecto la oportunidad de explorar reflexivamente cómo las experiencias de Jason de discriminación en Delhi y las aspiraciones y deseos que lo llevaron allí en primer lugar, crea un sitio profundo de análisis para abordar los matices del racismo anti-negro en India en un momento donde las relaciones económicas “India-África” están en aumento

A transient presence: black visitors and sojourners in Imperial Germany, 1884-1914

The onset of German colonial rule in Africa brought increasing numbers of Black men and women to Germany. Pre-1914 the vast majority of these Africans can best be described as visitors or sojourners and the Black population as a whole was a transient one. This makes recovering their presence in the archival record exceptionally difficult and it is not surprising that the existing historiography almost exclusively focuses on individual biographies of well documented lives. Through utilising a number of newly digitised archival materials, particularly the Hamburg Passenger Lists, this article draws upon a database with information on 1092 individuals from sub-Saharan Africa who spent time in Germany over the period 1884-1914 in order to add considerable bread and depth to our understanding of the Black presence as a whole. It provides increasing empirical detail about the make-up and character of this fluid population - where visitors came from, why they came to Germany, their age on arrival - as well as more accurate detail on the temporal and, to a lesser extent, spatial distribution of visitors

Cross-Fadings of Racialisation and Migratisation: The Postcolonial Turn in Western European Gender and Migration Studies

Looking at feminist and anti-racist approaches situated in or focused on Western Europe, especially Germany, this article investigates how racism and migration can be theorised in relation to each other in critical knowledge production. Rather than being an article ‘about Germany’, my intervention understands the German context as an exemplary place for deconstructing Europe and its gendered, racialised and sexualised premises. I argue that a ‘postcolonial turn’ has begun to emerge in Western European gender and migration studies and is questioning easy assumptions about the connections between racism and migration. Discussing examples from academic knowledge production and media debates, I suggest to think of migratisation (the ascription of migration) as performative practice that repeatedly re-stages a sending-off to an elsewhere and works in close interaction with racialisation. In particular, drawing on postcolonial approaches, I carve out the interconnection of racialisation and migratisation with class and gender. I argue that equating racialisation with migratisation carries the risk of whitening understandings of migration and/or reinforcing already whitened understandings of nation and Europeanness. To make discrimination ‘accessible’ to critical knowledge production, I engage in an epistemological discussion of the potentials and challenges of differentiating analytical categorisations. With this, this article engages with ascriptions, exclusions and abjectifications and attempts to formulate precise conceptualisations for the ever shifting forms of resistance we urgently need in transnational feminist activism and knowledge productio

A Black Gaze : Artists Changing How We See

"Examining the work of contemporary Black artists who are dismantling the white gaze and demanding that we see—and see Blackness in particular—anew. In A Black Gaze, Tina Campt examines Black contemporary artists who are shifting the very nature of our interactions with the visual through their creation and curation of a distinctively Black gaze. Their work—from Deana Lawson's disarmingly intimate portraits to Arthur Jafa's videos of the everyday beauty and grit of the Black experience, from Khalil Joseph's films and Dawoud Bey's photographs to the embodied and multimedia artistic practice of Okwui Okpakwasili, Simone Leigh, and Luke Willis Thompson—requires viewers to do more than simply look; it solicits visceral responses to the visualization of Black precarity." -- Publisher's website

Can Photographs tell the Story of Black History and the Black Present?

Tina Campt is a historian who has turned to photography and visual culture to tell stories of black lives that have been left out of the history books. She spoke to Caroline Molloy about her work

The Otolith Group: The Third Part of The Third Measure Film Screening and Conversation

Film screening and conversation with London-based filmmakers Anjalika Sagar and Kodwo Eshun, founders of the Otolith Group, and Rizvana Bradley, Art Historian at Yale University. Moderated by Tina Camp