Guniwaya-ngigu (We Fight), 1982, 60 min.
By Madeline McGrady & Tracey Moffatt
Moderated by Sumugan Sivanesan
In April 2018, Aboriginal activists at Camp Freedom on the Gold Coast of ‘Australia’ took inspiration from earlier resistance projects against the British Empire’s Commonwealth (‘Stolenwealth’) Games. The 1982 event in Brisbane took place during peaked land rights activism, while the Australian Government maintained a totally contradictory stance against apartheid in South Africa. In Queensland, Aboriginal people were still governed under the oppressive Aborigines and Torres Strait Islanders Act (also known as The Black Acts) which managed Aboriginal life and movement, outlawed public gatherings and the flying of the Aboriginal flag. The stand taken by converging groups including Black Unity bolstered solidarities internationally, including with Maori. Forty years later, while laws have changed, many material conditions of the struggle have not improved, while calls for treaties and reparations against what has been stolen continue. Guniwaya-ngigu (‘We Fight’) directed by renowned filmmaker Madeline McGrady (Gomeroi), features the work of the Black Film Unit (Maureen Watson, Tiga Bayles, Tracey Moffatt, Johnny Bayles), and received donations also from labour, media and solidarity organisations. It holds a special place in Aboriginal-led media history not only for the power of its imagery but for archiving the voices of so many of the agitators, artists, writers, media makers and historians of this generation, including Gary Foley, Neville Bonner, Cheryl Buchanan, Mum Shirl, Denis Walker, Marcia Langton, Richard Bell, Lionel Fogharty, Ambrose Goldenbrown, and music by No Fixed Address. In 2018, Games protesters were again arrested on site, drawing international media attention.
The screening will be followed by an online conversaton with the director Madeline McGrady (Gomeroi) and Ruby Wharton (Kooma/Gamilaraay) on behalf of Camp Freedom in 2018. Facilitated by the Berlin Aboriginal Solidarity Network.
Stitches of Power / Stitches of Sorrow
Free and open to the public
This performance makes a case for relationality of movements and continuity of time. It associates the Dahomey Women warriors who were active along the shores of the African West Coast in the 18th and 19th century, with the US based Black Panther Movement of the 1970s that Angela Davis was affiliated with and the here and now, Kaersenhout herself and the audience in their act of embroidering, while all of them are representing different levels of violence. Embroidering “innocent” images on white fabric was a popular pastime for white colonial women, in sharp contrast to the daily lived experiences of Black women. Kaersenhout dramatically interweaves innocence and violence.
SESSION V: FROM “ZWARTE PIET IS RACISME” TO “I AM QUEEN MARY”: STAGING EUROPE’S ‘INNOCENCE’ IN THE PUBLIC SPHERE
Quinsy Gario + Jeannette Ehlers + Mette Moestrup + Lesley-Ann Brown + Joiri Minaya
Moderated by Alanna Lockward
Free and open to the public
In this last panel participants will share different approaches from their practices intended to intervene or disturb the status quo and normalized historiographies. Jeannette Ehler’s recent accomplishment to place the monument of an incendiary Caribbean freedom fighter in Copenhagen will be discussed as well as the resonances of collaborative projects empowering artists and cultural agents engaged in decolonizing aesthetics and knowledge. Joiri Minaya will talk about her work addressing the perpetuation of white innocence in the gendered imaginary of tourism in the Caribbean and beyond.
Be.Bop 2018 Black Europe Body Politics. COALITIONS FACING WHITE INNOCENCE is a project of Art Labour Archives in cooperation with Studio Я / Maxim Gorki Theater and Autograph ABP (London) curated by Alanna Lockward. Supported by Bundeszentrale für politische Bildung/bpb and ifa-Galerie Berlin (Institut für Auslandsbeziehungen).
With friendly support by Danish Arts Foundation, Savvy Contemporary, Humboldt University Berlin, London College of Communication: University of the Arts London, King’s College London and Tate Britain.