Staying Power is a panoramic history of black Britons. Stretching back to the Roman conquest, encompassing the court of Henry VIII, and following a host of characters from Mary Seacole to the abolitionist Olaudah Equiano, Peter Fryer paints a picture of two thousand years of Black presence in Britain. First published in the '80s, amidst race riots and police brutality, Fryer's history performed a deeply political act; revealing how Africans, Asians and their descendants had long been erased from British history. By rewriting black Britons into the British story, showing where they influenced political traditions, social institutions and cultural life, was - and is - a deeply effective counter to a racist and nationalist agenda. This new edition includes the classic introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack, in addition to a brand-new foreword by Guardian journalist Gary Younge, which examines the book's continued significance today as we face Brexit and a revival of right wing nationalism.

An outstanding photography book documenting a movement that rocked the world. Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye. Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being. What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR. There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.

In Selected Writings on Race and Difference, editors Paul Gilroy and Ruth Wilson Gilmore gather more than twenty essays by Stuart Hall that highlight his extensive and groundbreaking engagement with race, representation, identity, difference, and diaspora. Spanning the whole of his career, this collection includes classic theoretical essays such as “The Whites of Their Eyes” (1981) and “Race, the Floating Signifier” (1997). It also features public lectures, political articles, and popular pieces that circulated in periodicals and newspapers, which demonstrate the breadth and depth of Hall's contribution to public discourses of race. Foregrounding how and why the analysis of race and difference should be concrete and not merely descriptive, this collection gives organizers and students of social theory ways to approach the interconnections of race with culture and consciousness, state and society, policing and freedom.

From hustling, drug addiction and armed violence in America's black ghettos Malcolm X turned, in a dramatic prison conversion, to the puritanical fervour of the Black Muslims. As their spokesman he became identified in the white press as a terrifying teacher of race hatred; but to his direct audience, the oppressed American blacks, he brought hope and self-respect.

This autobiography (written with Alex Haley) reveals his quick-witted integrity, usually obscured by batteries of frenzied headlines, and the fierce idealism which led him to reject both liberal hypocrisies and black racialism.

How might we reinvent the humanities? This is the question at the heart of this provocative volume. It is a difficult mission and definitely one which needs to be addressed with increasing urgency. There is no better cast to confront and problematize this question than the contributors to Conflicting Humanities. They are world-renowned thinkers who can tackle the problem as researchers and teachers but also as prominent public intellectuals. Taking the intellectual and political legacies of Edward Said as a point of departure and frame of reference, the contributors - working in a range of disciplinary settings - consider the current condition of humanism and the humanities. Said's definition of the core task of the Humanities as the pursuit of democratic criticism remains more urgent than ever, though it needs to be supplemented by gender, environmental, and anti-racist perspectives as well as by detailed analysis of the necro-political governmentality of our time. An innovative piece of scholarship, this volume is committed to the refusal of a world riven by new kinds of warcraft, injustice and exploitation.

Published to accompany an exhibition at MK Gallery, this is the first major survey of the work of contemporary British artist and photographer Ingrid Pollard, nominated for the Turner Prize 2022. This publication provides the first overview of works by British artist and photographer Ingrid Pollard. Pollard is renowned for using portrait and landscape photography to question our relationship with the natural world and to interrogate social constructs such as Britishness, race, sexuality and identity. Working across a variety of techniques from photography, printmaking, drawing and installation to artists' books, video and audio, Pollard combines meticulous research and experimental processes to make art that is at once deeply personal and socially resonant. 'Ingrid Pollard's practice has long been focused on the human body, astro-physics and geology, and in particular geology in the formation of the stars and planets. The title of this publication - Carbon Slowly Turning - invites us to reflect on geological time in relation to human time. On the one hand, the millennia in which carbon, rock and other natural materials are made, and on the other, the brevity of human existence by comparison and the affecting nature of geology on the human form. A number of Pollard's works reflect on the cyclical nature of history and human experience, where everything is subject to change, sometimes over hundreds or thousands of years, at other times in the blink of an eye.' - Gilane Tawadros, Curator, writer and CEO, DACS 'Ingrid Pollard's work slows down our looking to create space to consider alternative formations of history and landscape. Across four decades she has re-scripted Britishness, looking back in order that we might move forward differently. This is a profound and timely exploration of this vital British artist.' - Maria Balshaw, Director, Tate This book accompanies an exhibition at MK Gallery and Turner Contemporary, curated by Gilane Tawadros, with the artist, and supported by the Freelands Award 2020. Edited by Fay Blanchard and Anthony Spira. Essays by Anna Arabindan-Kesson, Cheryl Finley, Paul Gilroy, Mason Leaver-Yap and Gilane Tawadros.

In Selected Writings on Race and Difference, editors Paul Gilroy and Ruth Wilson Gilmore gather more than twenty essays by Stuart Hall that highlight his extensive and groundbreaking engagement with race, representation, identity, difference, and diaspora. Spanning the whole of his career, this collection includes classic theoretical essays such as "The Whites of Their Eyes" (1981) and "Race, the Floating Signifier" (1997). It also features public lectures, political articles, and popular pieces that circulated in periodicals and newspapers, which demonstrate the breadth and depth of Hall's contribution to public discourses of race. Foregrounding how and why the analysis of race and difference should be concrete and not merely descriptive, this collection gives organizers and students of social theory ways to approach the interconnections of race with culture and consciousness, state and society, policing and freedom.

In recent years, Europe has had to constantly rethink and redefine its attitude toward new flows of immigrations. Issues of boundaries and identity have been integral to this reflection. Through a magnificent collection of essays, Migrant Cartographies examines both sites and conflicts and the way in which forms of belonging and identity have been reinvented. With careful analysis and exceptional insight, this volume explores the most recent literature on migration as seen from different European viewpoints. This book fills a conspicuous void in migration literature, as there are no comprehensive books on migrant literatures in Europe that address the full range of complexities of colonial legacies and linguistic productions.

In recent years, Europe has had to constantly rethink and redefine its attitude toward new flows of immigrations. Issues of boundaries and identity have been integral to this reflection. Through a magnificent collection of essays, Migrant Cartographies examines both sites and conflicts and the way in which forms of belonging and identity have been reinvented. With careful analysis and exceptional insight, this volume explores the most recent literature on migration as seen from different European viewpoints. This book fills a conspicuous void in migration literature, as there are no comprehensive books on migrant literatures in Europe that address the full range of complexities of colonial legacies and linguistic productions.

Why do we still divide humanity into different identity groups based on skin colour? Did all the good done by the Civil Rights Movement and the decolonization of the Third World have such little lasting effect? In this provocative book, now reissued with a new introduction, Paul Gilroy contends that race-thinking has distorted the finest promises of modern democracy. He compels us to see that fascism was the principal political innovation of the twentieth century - and that its power to seduce did not die in a bunker in Berlin. Aren't we in fact using the same devices the Nazis used in their movies and advertisements when we make spectacles of our identities and differences? preeminent in our lives in the years since the 1960s and especially in the 1980s with the rise of hip-hop and other militancies. With this trend, he contends, much that was valuable about black culture has been sacrificed in the service of corporate interests and new forms of cultural expression tied to visual technologies. He argues that the triumph of the image spells death to politics and reduces people to mere symbols. At its heart, Between Camps is a utopian project calling for the renunciation of race. Gilroy champions a new humanism, global and cosmopolitan, and he offers a new political language and a new moral vision for what was once called 'anti-racism'.

This classic book is a powerful indictment of contemporary attitudes to race. By accusing British intellectuals and politicians on both sides of the political divide of refusing to take race seriously, Paul Gilroy caused immediate uproar when this book was first published in 1987. A brilliant and explosive exploration of racial discourses, There Ain't No Black in the Union Jack provided a powerful new direction for race relations in Britain. Still dynamite today and as relevant as ever, this Routledge Classics edition includes a new introduction by the author.

''Race', Sport and British Society is the most comprehensive account ever written about the subject - it presents a timely and vital challenge to all of us about understanding and addressing the subtitles of 'race' and racism in sport.' - Jennifer Hargreaves, Brunel University

'So often in books on sport there is no mention of 'race, and in books on 'race' there is no reference to sport. At last here is a superb and scholarly collection that brings the two together.' - Heidi Safia Mirza, Middlesex University

'The book is a vital resource and an aid to help anyone invloved in promoting racial equality in and through sport to understand and address these issues.' - Sporting Equals Newsletter

Afro-Nordic Landscapes: Equality and Race in Northern Europe challenges a view of Nordic societies as homogenously white, and as human rights champions that are so progressive that even the concept of race is deemed irrelevant to their societies. The book places African Diasporas, race and legacies of imperialism squarely in a Nordic context. How has a nation as peripheral as Iceland been shaped by an identity of being white? How do Black Norwegians challenge racially conscribed views of Norwegian nationhood? What does the history of jazz in Denmark say about the relation between its national identity and race? What is it like to be a mixed-race black Swedish woman? How have African Diasporans in Finland navigated issues of race and belonging? And what does the widespread denial of everyday racism in Nordic societies mean to Afro-Nordics? This text is a must read for anyone interested in issues of race in the Nordic region and Europe writ large. As Paul Gilroy writes in his foreword, it is a book that "should be studied with care and profit inside the Nordic countries and also outside them by the broader international readership that has been established around the study of racism and 'critical race theory'."

In this provocative book, now reissued with a new introduction, Paul Gilroy contends that race-thinking has distorted the finest promises of modern democracy. He compels us to see that fascism was the principal political innovation of the twentieth century - and that its power to seduce did not die in a bunker in Berlin. Between Camps addresses questions such as: * Why do we still divide humanity into different identity groups based on skin colour? * Did all the good done by the Civil Rights Movement and the decolonization of the Third World have such little lasting effect? Gilroy examines the ways in which media and commodity culture have become pre-eminent in our lives in the years since the 1960s and especially in the 1980s with the rise of hip-hop and other militancies. With this trend, he contends, much that was valuable about black culture has been sacrificed in the service of corporate interests and new forms of cultural expression tied to visual technologies. He argues that the triumph of the image spells death to politics and reduces people to mere symbols. At its heart, Between Camps is a Utopian project calling for the renunciation of race. Gilroy champions a new humanism, global and cosmopolitan, and he offers a new political language and a new moral vision for what was once called 'anti-racism'.

'Alex Wheatle writes from a place of honesty and passion' Steve McQueen, director of Small Axe East of Acre Lane is the fast-paced and razor sharp story of a young man trying to do the right thing from celebrated author Alex Wheatle, one of the figures who inspired Steve McQueen's Small Axe It is 1981, and Brixton is on the verge of exploding. Biscuit lives with his mother, brother and sister, trapped hustling on the frontline for the South London badman Nunchucks. As the patience of the community breaks and the riots erupt, Biscuit must make a choice that could change his life forever. 'His prose is as sharp as a barber's cutthroat and the hard edged dialogue perfectly captures that London vibe. Thrilling, very funny, and most of all a page turner' Courttia Newland

In this ground-breaking work, Paul Gilroy proposes that the modern black experience can not be defined solely as African, American, Carribean or British alone, but can only be understand as a Black Atlantic culture that transcends ethnicity or nationality. This culture is thorough modern and, often, overlooked but can deeply enriches our understanding of what it means to be modern. This condition comes out of historical transoceanic experience, established first with the slave trade but later seen in the development of a transatlantic culture. And Gilroy takes us on a tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. As a consequence, Black Atlantic charts the formation of a nationalism, if not a nation, within this shared, disasporic culture.

Afro-Nordic Landscapes: Equality and Race in Northern Europe challenges a view of Nordic societies as homogenously white, and as human rights champions that are so progressive that even the concept of race is deemed irrelevant to their societies. The book places African Diasporas, race and legacies of imperialism squarely in a Nordic context. How has a nation as peripheral as Iceland been shaped by an identity of being white? How do Black Norwegians challenge racially conscribed views of Norwegian nationhood? What does the history of jazz in Denmark say about the relation between its national identity and race? What is it like to be a mixed-race black Swedish woman? How have African Diasporans in Finland navigated issues of race and belonging? And what does the widespread denial of everyday racism in Nordic societies mean to Afro-Nordics?

This text is a must read for anyone interested in issues of race in the Nordic region and Europe writ large. As Paul Gilroy writes in his foreword, it is a book that "should be studied with care and profit inside the Nordic countries and also outside them by the broader international readership that has been established around the study of racism and 'critical race theory'."

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In "Postcolonial Melancholia," he continues the conversation he began in the landmark study of race and nation "'There Ain't No Black in the Union Jack'" by once again departing from conventional wisdom to examine -- and defend -- multiculturalism within the context of the post-9/11 "politics of security."

This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, "Postcolonial Melancholia" goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent.

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In "Postcolonial Melancholia," he continues the conversation he began in the landmark study of race and nation "'There Ain't No Black in the Union Jack'" by once again departing from conventional wisdom to examine -- and defend -- multiculturalism within the context of the post-9/11 "politics of security."

This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, "Postcolonial Melancholia" goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent.

Black people have inhabited the British Isles for centuries. Eminent professor Paul Gilroy, renowned for his work exploring the social and cultural dimensions of British blackness and black Britishness, has assembled a living visual history of their social life in the modern British Isles. Watershed moments include the rise and commercial circulation of black culture and music, the world wars, the Manchester Pan African Congress, the historic settlement of the Windrush generation and the riots of the 1980s. Luminaries drawn from politics, art and sport appear alongside many pioneers - the first Jamaican immigrant to Brixton, London's first `Caribbean Carnival', the first black publican and the first female plumber. Just as important are the everyday experiences and anonymous faces. The ordinary lives of people of African, Caribbean, British and other cultures, captured here, vividly document the country's difficult and unfinished process of becoming postcolonial.

Staying Power is a panoramic history of black Britons. Stretching back to the Roman conquest, encompassing the court of Henry VIII, and following a host of characters from Mary Seacole to the abolitionist Olaudah Equiano, Peter Fryer paints a picture of two thousand years of Black presence in Britain. First published in the '80s, amidst race riots and police brutality, Fryer's history performed a deeply political act; revealing how Africans, Asians and their descendants had long been erased from British history. By rewriting black Britons into the British story, showing where they influenced political traditions, social institutions and cultural life, was - and is - a deeply effective counter to a racist and nationalist agenda. This new edition includes the classic introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack, in addition to a brand-new foreword by Guardian journalist Gary Younge, which examines the book's continued significance today as we face Brexit and a revival of right wing nationalism.

Stuart Hall's retirement from the Open University in 1997 provided a unique opportunity to reflect on an academic career which has had the most profound impact on scholarship and teaching in many parts of the world. From his early work on the media, through his influential re-working of Gramsci for the analysis of Britain in the late 1970s, through his considered debates on Thatcherism and more recently on "race" and new ethnicities, Hall has been an inspirational figure for generations of academics. He has helped to make universities places where ideas and social commitment can exist alongside each other. This collection invites a wide range of academics who have been influenced by Stuart Hall's writing to contribute not a memoir or a eulogy but an engaged piece of social, cultural or historical analysis which continues and develops the field of thinking opened up by Hall. The topics covered include identity and hybridity, history and post-colonialism, pedagogy and cultural politics, space and place, globalization and economy, modernity and difference.