Stan Firm inna Inglan: Black Diaspora in London, 1960-70s

Tate Britain, London, United Kingdom
14 Nov 2016 - 14 Nov 2017

Stan Firm inna Inglan: Black Diaspora in London, 1960-70s

Dennis Morris , Brother can you spare some change? Sandringham Road, Dalston, Hackney, 1976, Tate. Gift Eric and Louise Franck London Collection 2016 © Dennis Morris

This display brings together for the first time recently acquired works by eight photographers, gifted by Eric and Louise Franck.

The photographs by Raphael Albert, Bandele ‘Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg focus on those who travelled from the Caribbean and West Africa to live in London, documenting their joy, self-empowerment and desire to belong to British society, as well as the racial tension and exclusion that defined these communities in the capital. The title of the display is taken from the poem It Dread inna Inglan by UK-based Jamaican-British poet Linton Kwesi Johnson.

The display is curated by Elena Crippa, Allison Thompson and Susana Vargas Cervantes.

Stan Firm inna Inglan: Black Diaspora in London, 1960-70s is part of Tate Britain’s new season of BP Spotlights opening this autumn. They include displays of early films by Eduardo Paolozzi, installations by contemporary artist Martin Boyce, works and oral histories from the revolutionary Kasmin Gallery, and photographs of London’s Caribbean and West African communities in the 1960s-70s. The BP Spotlights are a series of regularly changing free displays at Tate Britain, using works from Tate’s collection and loans to explore particular themes or focus on particular artists.

The otherBP Spotlights are:

28 November 2016 – Autumn 2017
Revolutionary in its time, the Kasmin Gallery opened in 1963 and was London’s first specially designed commercial building that was made to show large paintings and sculpture in a single, uninterrupted space. This display unites artworks shown at the Kasmin Gallery that are now in Tate’s collection. The display will also feature extracts from an oral history project, Artists’ Lives, which illustrates the human stories behind the paintings and sculptures. Artists’ Lives is run by National Life Stories at the British Library in association with Tate.

28 November 2016 – Autumn 2017
The display presents the earliest surviving films by the artist Eduardo Paolozzi (1924–2005): History of Nothing 1962 and Kakafon Kakkoon 1965. In these animations, the unlikely juxtapositions of found images and sounds reflect Paolozzi’s view that juggling different materials and ideas is the very essence of the creative act. In their different ways, the two films strongly portray the modern and mechanised world, in which everything is connected and constantly changing.

28 November 2016 – Autumn 2017
Turner Prize winner Martin Boyce’s installation Do Words Have Voices (2011) foregrounds his ongoing engagement with modernist forms and ideals. He subtly alters classic design objects and architectural elements in order to highlight how their makers’ original ideals have changed over time. Do Words Have Voices has its roots in an archival image that documents the early twentieth century French sculptors Joel and Han Martel’s work Concrete Trees – four geometric, cast concrete sculptures installed in a Parisian garden for the Exposition Internationale des Arts Decoratifs et Industriels Modernes in 1925.


BP has supported arts and culture in the UK for over 50 years and currently focuses its support on long-term partnerships with five world class institutions; The British Museum, The National Portrait Gallery, The Royal Opera House, The Royal Shakespeare Company and Tate Britain. More than 50 million people across the UK engaged with BP supported activities during this time.  BP’s long term partnerships, represents one of the most significant long-term corporate investments in UK arts and culture.




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