The exhibition 'James Barnor - Studio of Life' at Fotomuseum Antwerpen - FOMU showcased a retrospective of James Barnor's remarkable career, spanning from the 1950s to the 1980s. His work, across Accra, Antwerp, and London, captured pivotal moments in modern history.
I fell in love with his work after my friend
(aka Artbae) in 2010 had the opportunity to curate his work for TotalEnergies gallery @aflusaka in Zambia. When Sana was on a Eurotrip late last year, which will be remembered by the wheels on her suitcase fighting European cobblestone, FOMO invited her to the opening of this retrospect. I was under the weather but knew I had to visit the show before it ended. I finally saw his work in person in March of this year, which didn’t disappoint.At first glance, I was intrigued to see how his work progressed throughout the years. I wondered if the context would change his direction. But his genuine curiosity and playfulness persisted. James Barnor’s work in the most subtle but powerful way captured the beauty and an underrepresented perspective of modern world history.
His iconic studio photos in the 50’s, so early on captured the light and depth of every subject, a true gift in portrait photography. Even the dramatic mock-ups of everyday life invoked relatable stories. What initially could be mistaken for an ad, was a genuine aspiration for wealth or a life well lived by consumerist measure. It reminded me of the countless times my family set stages of our own during “photo time”. The overemphasised eating of cornflakes at the breakfast table in Sunday-best might seem somewhat exaggerated, some may even question whether black Africans ate cornflakes for breakfast in 60s Ghana. But there’s an audience of ’90s kids who will know, that our staged phone calls and breakfast scenes, were part of a memory-making ritual.
“Why are all black people activists in the Benelux”
I was especially charmed by the many black women he captured. I found the images with honest intent, unlike the national geographic-esk images of black women that come to mind. They commanded a sense of presence, and by the end of the exhibition I realised, I had never seen so many images of black joyful women, African women, and everyday black women in Europe. I think the forgetfulness of such beauty can only be attributed to a lack of representation.
I've recently explored Stuart Hall's cultural theories on representation and identity. Hall views representation as a system where meanings and connections are established through concepts and imagery in our minds. It plays a crucial role in how meaning is created and shared within a culture. This has got me thinking about, how the presence or absence of minority groups in public imagery conveys a distinct message.
Once, a newly acquainted friend asked me, 'Why are so many black people activists in this country?' She had recently moved to the Netherlands and, after six months, had observed this phenomenon. I explained that it's often a response to survival and the constant barriers they face daily, reads everyday microaggressions. Consequently, black women are saddled and oversaturated with the burden of protest. They're often token guests on talk shows, expected to represent an entire community. Additionally, they're pressured to embody the 'perfect' black woman to compensate for societal biases. It’s challenging to exist if you’re constantly exposed to a list of pressures and expectations.
The work of Representation
Historically and in the present day, the nature of photography and its frequent exclusion of Black bodies have significant consequences for cultural narratives, perpetuating the message to minority groups that their presence is unusual, distinct, and limited within the broader culture. The act of representation within photography translates into capturing alternative narratives, challenging conventional perspectives, and presenting nuanced portrayals as a form of cultural resistance.
Despite consuming copious amounts of culture and art of all genres, particularly photography, I’m rarely in awe of non-heroic everyday black women. Yet, Barnor’s variety of black women, on the streets of James Town and London, all dolled up, wedding guests, at a friend’s party -was impactful. For example, the rare depiction of black women in the 1960s diverged from the typical portrayal epitomized by figures like Twiggy.
The reality is that representation arises as a response to historical events. In Africa, the history of photography runs parallel to the history of colonial violence. During the 1950s and 1980s what was absent and present in African photography contributed to the narrative controlled by the commissioners of the work. Barnor’s success however magnifies a unique representation during his time. His work for the Pan-African magazine @drum_magazine is a fragment of this reality. The magazine was a powerful mouthpiece for the anti-apartheid struggle in South Africa. In 1957, it opened offices in Accra and Lagos. The Ghanaian and Nigerian editions offered more space for photography than their South African counterpart and became a platform for the newly independent nations. Barnor’s Images for the publication captured black models in that same iconic studio photography style.
NANABENZ x NELG
These observations among others explained why Nana Benz was involved with this exhibition. Nana Benz is a collective of three young Diaspora Antwerp natives who aim to promote the experience of African culture in the Belgian diaspora. In past events, the collective through theatre showcases has organised pieces that inspire the African diaspora to celebrate their roots and invite young people to engage in the discovery and the feelings associated with it.
The collaboration elegantly tied together those goals, as Barnor’s work is such a celebration of identity, culture and beauty within and beyond the continent. Their objective was to use creativity to answer questions about belonging.
For diaspora, growing up in Europe can often induce a sense of displacement -which comes from defining identity in new regions while still having ties to “home”.It’s a jarring awakening, particularly when parts of identity are experienced in isolation. From a young age, parents make efforts to ensure the diaspora maintains its native language, customs, and culinary traditions, connecting roots as much as possible. However, during adolescence, sustaining this identity can prove challenging if it doesn't fully align with individual expression and experiences. This builds up to a transformative yet complicated journey of navigating and embracing aspects of indigenous culture that resonates.
The right to remember
Anchoring diaspora’s sense of displacement, Barnor’s work delivers the right to remember, returning geographic identity scaping to be defined by regions that truly hold notions of belonging, non-hostility and ultimately home. Barnor's work illustrates that celebrating history not only inspires but also validates aspirations for the future. When the frame of reference expands and encompasses beauty, culture, and hard work, it instils a unique confidence.
What makes this journey uncomfortable is the acknowledgement of displacement. And the process of reckoning with the duality of identity. Nana Benz invited Ghanaian-Dutch rapper, Nnelg to guide a walkthrough of the exhibition and talk about his journey.
On his recent project, Nelg found inspiration for his video LP "Devil is a Lie" from the work of James Barnor (1929, Ghana). In the solo track's video clip, he drew inspiration from Barnor's photography, bringing portraits of individuals from the Ghanaian diaspora to life.
“Onderhoud”
Which translates to maintenance is rapper Nnelg's latest campaign to engage his listeners - it’s the mindset of pushing your human experience to full potential. The campaign is visualised in short rap workout videos. Still, I was curious to talk to him about the deeper meaning of this clever campaign about consistently creating an authentic identity.
Guiding the walkthrough, Nnelg encouraged participants to share what they liked about the work, pointing out their favourite frames. While the walkthrough had some music in the background, it was the group that created the liveliest gallery atmosphere I’ve been in, filled with audible curiosity and sharing. I learned more about frames that intrigued me earlier and appreciated the collective experience- of emotions and the memories invoked. The Mohammed Ali frames were a focal point during the tour, as one guest spoke of how Ali inspired the peace movement when he protested the draft during the Vietnam War. This act by one man encouraged black people to resist partaking in an unjust war.
Each contribution provided a glimpse into attendees' inner lives and struggles with connectivity. Questions arose about belonging, whether answers can be found within the community, and how to pursue an authentic individual path.
After the tour, moderator Sonia Dorcas joined Nnelg in a conversation with the audience. Nnelg spoke about inner knowing around one’s gifts and always being returned to this destiny in his own life. It didn’t feel or feed the same purpose when he strayed away from his creative compass. He hoped young people would follow this internal compass despite the hustle and temptations of fast cash and lack of role models. It wasn’t a motivational speaker talk to my relief but an intimate glimpse into his journey. He hopes the sincerity in his work can inspire his young listeners, regardless of their chosen craft or career path, to pursue a creative and connected life.
Capturing Post-independence Africa
I discussed with Nnelg the independence images captured by Barnor in the aftermath of Ghana's independence in 1957. Following Ghana's independence, numerous African countries followed suit and joined in a pan-African movement of decolonization. The images narrated a story of an independent Africa, embodying an ambitious and collective pan-African identity. They hold immense power because the narratives we often encounter about African history tend to focus on defeat, deficiency, and, most alarmingly, a history characterized by traumatic imagery.
The oversaturation of these images is damaging to the formative stages of identity amongst the diaspora. This content otherwise known as "Trauma Porn" refers to the voyeuristic consumption or depiction of graphic and explicit material involving Black bodies related to traumatic events, experiences, or suffering, often for entertainment or sensationalism. This phenomenon perpetuates the pervasive notion that has long dominated anthropological images of Africa, depicting the continent solely as war-stricken and impoverished.
In stark contrast, Barnor’s images are powerful and capture the essence of everyday life, historic pride, ambition and triumph with great clarity.
I've had discussions about belonging with Sana on and off since we first met while at university in the UK—an experience that deserves a detailed recount. Sana was studying art in Wales, while I pursued policy studies in England. We are both third-culture kids, exploring similar topics through different lenses. One recurring theme we've touched upon is the consequence of seeing bodies that do not resemble ours inhabiting seats at the table, and the challenges that come with forging our own identities past those highly subscribed by people who look like we do.
We have pondered over the key ingredient- tenacity to pursue an unusual path. When I reflect on myself, it may be a lack of mathematic talent or rather a fascination with societal politics that pushed me to pursue a career in human rights and foreign affairs. Sana has shared her understanding that others, such as her siblings, had to clear a path for her, and the encouragement from her parents also resonates with me.
Sana is the founder of @Zambiabelonging, a counter-archive by @everydaylusaka exploring identity through photographs from the past. She recently also opened the gallery Everyday Lusaka. We both remain intrigued by what it means to belong and how art can inspire conversations on this topic.
The exhibition has now come to a close, but if you want to see more of James Barnor’s images look up the archive on Instagram and you can find Nnelg’s music on all available music platforms.
Upcoming EVENT
Africa Day -on May 25th 2024 by NANABENZ
An event in collaboration with @cinematekbe and the @chantalakerman.foundation-CONFERENCE] Chantal Akerman – Crossed Perspectives on the Jewish Identity of a Filmmaker – 29.05 from 6 pm.
Gallery Visit
EVERYDAY LUSAKA -if you’re blessed to be on the continent soon, visit this wonderful space in the heart of Lusaka.
Screening
Black Tea' - from May 22 in theatres 🍃After 'Timbuktu,' Abderrahmane Sissako now tells the story of the unexpected love between Aya and Cai.