MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
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Scotland the black
JOE JACKSON explores how growing up black amid ‘the quiet racism of Scotland’ shaped the art and politics of Maud Sulter
CLAIMING HER PLACE: (L) Maud Sulter, Self-portrait, 2001-2, detail; (R) Maud Sulter: Syrcas. Hélas l’héroine Quelques instants plus tard, Monique cherchait sa brosse à cheveux, 1993
[© Estate of Maud Sulter. Image courtesy of Street Level Photoworks Glasgow/Courtesy of the Estate of Maud Sulter and DACS]
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
Evidence points to a Scottish provenance for the extraordinary Irish illuminated manuscript, the Book of Kells, suggests RACHEL MOSS
CHRIS SEARLE relishes an account of the years when a black American music carried a message of anti-racism and class struggle
This stunning film about a Bulgarian textile worker highlights the exploitative nature of Euro-capitalism, says RITA DI SANTO
PETER MASON thrills to Irish folk band The Haar
Maud Sulter – You are my kindred spirit
Tramway, Glasgow
SHE was one of the first chroniclers of the modern experience of being black in Scotland. The daughter of a Scottish mother and Ghanaian father growing up in 1960s and 1970s Glasgow, Maud Sulter experienced first-hand the racism of the period. That experience strongly registered in her art, writing, poetry and photography, informing her lifelong commitment to anti-colonial politics and the amplification of black voices – particularly women – marginalised or forgotten by history.
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