Race and the Arts.
The present modes for dialoguing about race in the arts served a distinct purpose up until the mid nineties but now they are clunky, many are obsolete in their effectiveness. People of colour are interrogating and refreshing their arts practice all the time but receiving fewer opportunities to flex their creative wings on large mainstream platforms proving quality work from the diaspora abounds. As a black woman artist and a consumer of art I belong to a demographic who notices the stinging pattern when a certain ilk of artists get fast passed and supported – the prompt for this post is a white male South African making theatre performances, predominantly using the black body and its stereotypical objectifying tropes. That fact this artist is hailed as South Africa’s ultimate theatre baby is troubling. So I supported the #BoycottExhibitB and #BoycotttheHumanZoo campaigns.
Although this initial letter is addressed to Brett Bailey, it is more a reflection, an analysis and comment on the arts world, highlighting how artist like Bailey and his supporters actually engage with conversations around race and arts practice. I would like this response to be considered a push back, making transparent how (t)his type of dialoguing about race and art is forced upon many black and brown arts makers, and how we receive it. There is a habit of marginalisation in the processing of diverse work that so obviously needs to be broken because negotiations lacking genuine structural and attitudinal shifts for positive change fail to bring about balanced representation in the arts world. And I want to talk about it some more.
In response to a ‘report’ written by Brett Bailey entitled “Blood on the Tarmac” (which never got published except on your Facebook page)
Mr Bailey, I do not know you personally but I know some of your work which makes heavy use of the black body as objects for your creative and intellectual expression. I also understand that you have intended to make a piece of work framed within the disturbing actuality of human zoos entitled “Exhibit B”, excavating the dark, twisted annuls of brutal white supremist colonial history in Africa and of Her Diaspora, despite objectifying potentiality and result. In interviews, you have claimed honourable intentions with this piece of work which can be summarised as highlighting and creating dialogue about the atrocities white European colonialists have committed over centuries.
After reading subsequent interviews it is revealed, on multiple levels, your lack of understanding of the deeper subtexts of your creative and directorial choices in Exhibit B – resonances that exist in white privileged blindspots that only experience can authenticate. It would be a huge failing and a brazen display of privilege if you attempted to refute that. And I don’t believe you will. Continue reading