MARIA DUARTE defends a solid, late-career Spielberg conspiracy flick that calls for empathy in a hostile world
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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]
MARIA DUARTE, SCOTT ALSWORTH, ANDY HEDGECOCK and ANGUS REID review The Fall of Sir Douglas Weatherford, Detective Conan: Fallen Angel of the Highway, Time and Water, and Strictly Ballroom
STEVE JOHNSON recommends a beautiful album of songs that celebrate summer, from May Day onwards
New releases from Joe Wilkes, Honey and the Bear, and Hannah James and Toby Kuhn
Given the power of the live experience, MIK SABIERS recommends Jon Spencer’s new album
Reviews of T.P. Orchestre Poly-Rythmo, Tamikrest, and Dub Colossus
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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