*Please note the time and date of the conversation with Julie Dash has been changed to 5 pm, Saturday April 8th after the screening of Daughters of the Dust.
Baldwin’s Nigger and Reggae
Friday, February 24, 2017
Gallery 992 | 8:00 pm
$10 admission | Tickets available on EventbriteCo-sponsored by Liquid Blackness, the Department of Film & Media Studies and the James Weldon Johnson Institute at Emory University
Horace Ové, CBE, may be best known for Pressure (1976), the first feature film by a black director in Britain. But earlier in his career came two remarkable political documentaries produced in the wake of Black Power – one a document of James Baldwin at peak intensity, and the other an examination of reggae at the very beginning of its international emergence.
The 2016 Oscar-nominated documentary I Am Not Your Negro has shown all over again the importance of James Baldwin’s ideas and the ever-powerful force of his literary voice. Horace Ové’s film Baldwin’s Nigger documents a 1969 appearance by Baldwin and Dick Gregory at London’s West Indian Student Centre. In an extemporized address to a packed room, Baldwin undertakes a complex examination of the experience of blackness, in history and in the immediate context of the American war in Vietnam.
Always a magnetic presence, Baldwin is at his most riveting in this film. Following his talk is an animated back-and-forth between the audience of students, activists, and community members and Baldwin, who responds in the moment to questions about integration, the difference between “Negro” and “black,” and the role of white liberals in Black Power. Ové’s film, rather than simply celebrating a famous writer, preserves the integrity of Baldwin’s encounter with his audience. Baldwin’s Nigger is thus a valuable document not only of Baldwin, but of the West Indian Student Centre itself, and of a black community in Britain finding the way through a fraught political moment.
Reggae is a very early documentary about the political significance of Jamaican music’s emergence in Britain. Filmed partly at a 1970 concert in Wembley Stadium and containing performances by Desmond Dekker, the Maytals and other superstars, Reggae is nonetheless something other than a concert film. Found footage, street photography, interviews with fans and music industry figures combine with the vintage performances to create a sharp and textured report that captures its moment and looks forward to reggae’s worldwide acceptance and its influence on the imminent development of British punk.
Though quite different from each other, both of these films touch on themes of immigration, integration, and black culture across borders. Their immediate context was the West Indian experience in Britain in the era of Black Power, but Horace Ové’s prescience as a filmmaker ensures they remain ever-relevant to us, here, today, in the era of Black Lives Matter, and beyond.
Baldwin’s Nigger (Horace Ové, 1969) 45 minutes
Reggae (Horace Ové, 1971) 60 minute
992 Ralph David Abernathy Blvd
Atlanta, Georgia 30310
Wednesday, February 22, Ciné Murmur will screen Aloysius Harmon’s Permanent Daylight, Boneshaker by Ghanaian director Frances Bodomo, and Swimming in Your Skin Again directed by Terrance Nance. Screening from 7-10 pm at Murmur Gallery, 100 Broad St.
Ciné Murmur is a monthly screening hosted at Murmur featuring a short film from emerging artists, writers and filmmakers and a feature short flick or documentary.
$5 Suggested donations
liquid blackness is pleased to announce that the 2015 publication, L.A. Rebellion: Creating a New Black Cinema edited by Allison Field and Jan-Christopher Horak and published by University of California Press will be awarded best edited collection at the 2017 SCMS annual conference. The awards ceremony will be held Friday, March 24th at the Fairmont Chicago. Faculty coordinator of liquid blackness, Alessandra Raengo’s essay, “Encountering the Rebellion: liquid blackness Reflects on the Expansive Possibilities of the L.A. Rebellion Films,” is included in the collection and describes the research which culminated in “The Arts and Politics of the Jazz Ensemble” project.
Arthur Jafa’s “Love is the Message, The Message is Death” is currently screening in an exhibition for Gavin Brown Enterprise (GBE) at 429 WEST 127TH Street, New York now through December 17. As described from GBE’s website:
The viral outgrowth of an aborted found-footage exercise, the 7-minute video [Love is the Message, The Message is Death] is an alternately mirthful-cum-melancholic-cum-cardiac-arresting meditation on race-agency wrapped in a visually sermonic recitation of race tragedy wrapped in a nuanced and feverish exultation of diverse Black American lives at various states of collapse and regeneration–a spectrum of community including those identified by Jafa in an earlier project as “The Uncommon Folk.”
To read the full description click here.
#BLACKMATTERLIVES: New Work by Fahamu Pecou is now on view in New York City at the Lyons Wier Gallery. Below Pecou describes the new series:
Afrofuturism and Environmental Justice: Film Screening and Panel Discussion
*The screening will take place in the Ferst Center for the Arts.