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Gus Casely-Hayford is a man on a mission to open up and diversify the arts sector.

As founding director of V&A East – one of the world’s most significant new museum projects and part of the mayor of London’s £1.1bn Olympic legacy project – he knows that shifting the canon won’t necessarily be easy.

V&A East Museum tops out in Queen Elizabeth Olympic Park, Dec 2021. View from Tessa Jowell Boulevard. Pic: Victoria and Albert Museum
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V&A East Museum in Queen Elizabeth Olympic Park. Pic: Victoria & Albert Museum

Casely-Hayford told Sky News: “There are challenges that we have in this country… Years of museum tradition based around particular narratives.

“There’s a fairly conservative bedrock upon which we have to begin to build new narratives. Think about how we can actually include voices that it may have felt acceptable to marginalise a generation ago.”

Based in Stratford’s Queen Elizabeth Olympic Park, V&A East will bring two brand new arts venues to East London – a five-storey, 7,000 square meter museum on the waterfront, and a vast glass and brick storehouse, offering more than 250,000 curated items for public view, just a 10-minute walk away.

Balenciaga inspired

Based on an X-Ray of a Balenciaga ballgown, and informally dubbed “the crab”, the museum will form part of a new cultural quarter collectively known as East Bank, nestling alongside a Sadler’s Wells dance theatre, BBC recording and performance studios and UAL’s London College of Fashion.

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In a world where many consider the arts to be for the privileged few rather than the many, Casely-Hayford says his bid to highlight under-represented voices is clear cut.

He said: “These are our spaces paid for with our tax money. We should all be getting the benefit.”

Having moved back from the US to take up the role (he was previously director of the Smithsonian, National Museum of African Art in Washington DC), Casely-Hayford has applied a fresh view to the British art scene.

X-ray photograph of evening dress, silk taffeta, Cristóbal Balenciaga, Paris, 1954. X-ray by Nick Veasey, 2016 
Pic: Nick Veasey
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X-ray of a silk taffeta Balenciaga evening dress, Paris, 1954. Pic: Nick Veasey, 2016

He said: “Art is one of the things that we do better than anyone else. You look at the sorts of people who represent us best at the Oscars or in music, and they represent the cultural diversity of our nation.

“I would love it if in the museum sector, if we could really get on board with that, invest in that, but not just do it in terms of the art that we display on our walls, but also the people who curate our spaces.”

The Global South

The museum will collect work from around the world, prioritising issues from the Global South – Latin America, Asia, Africa, and Oceania.

And far from being a modern obsession or trendy buzzword, Casely-Hayford believes diversity is woven into the very fabric of being British.

Early concept image for V&A East Museum’s Why We Make galleries from design team
credit: V&A East Museum, Why We Make galleries (concept image)

PIC:JA Projects
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An early concept image for V&A East Museum. Pic: JA Projects

He said: “The thing that makes me proud is that we are a diverse nation. You think about our national flag, that we didn’t choose a tricolour.

“We chose a flag which demonstrates the differences and how we come together, that we are a number of different nations. We accept diversity, complexity, and we want our space to be able to tell those stories.

“All of that cultural complexity, the stories of empire, of enslavement, of all these difficult things. But also, the transcendent stories of how through creativity, we can come together as one.

“We can be a single nation that celebrates greatness, goodness, that celebrates the sorts of things that inspire a new generation.”

‘An engine of transformation’

And he says aside from artists and curator diversity, attention must be turned to both the visitors and staff of the museum too.

“We want to build this institution from the ground up, for and with our local communities. We want it to reflect their need,” he said.

“When it opens in 2025 and you come into our space, I’m hoping that you’ll be welcomed by people who demonstrate the kind of cultural complexity of the people that live in and around this area.”

Not a man to rest on his laurels, he’s quite literally got on his bike to share news of the new spaces to secondary schools in the area, in a bid to talk to 100,000 young people.

East Bank Creative Programme 'Dystopia to Utopia Reimagining Our Future'.Image courtesy East Bank partners 
Credit:V&A/Antony Jones, Gett
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Dystopia to Utopia performance. Pic: V&A/Antony Jones

It is his ambition that one of the children who walks through the museum doors will go on to have their art on the walls, or even one day claim his job.

Calling the spaces “an engine of transformation”, he wants the younger generation to see the creative industries as a viable profession, as he says, “not from the margins, not feeling they’re part of the peripheral, but right in the bedrock of institutions like V&A East”.

Holding institutions to account

Ahead of these potential new opportunities, emerging artist Heather Agyepong says the last two years have been transformational in black British art, offering her a position of power as an artist for the first time.

Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi
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Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi

She told Sky News: “I think since George Floyd was murdered, and the black uprisings, there’s been a real thirst and a kind of embarrassment about the lack of black British art in collections.

“In 2020, all of these institutions gave these massive pleas and dedications to include more black British art, which has been amazing. But I think now, two years on, you’re seeing that some of it was a little bit performative, or for optics.

“For me as an artist now, I feel I can hold those intuitions accountable because they made all of these claims, and I can go back and say, ‘what are you doing to address your collections? What are you doing to address the inclusion of black British art?’

“I feel quite empowered now, as an artist moving forward.”

However, she admits she wasn’t always as clued up about the rich heritage of the UK’s black artists.

Heather Agyepong, ego death, 2022. Originally commissioned through the JerwoodPhotoworks Awards, supported by Jerwood Arts and Photoworks. Installation view at Jerwood Space. Pic: Anna Arca
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Ego death at Jerwood Space, supported by Photoworks. Pic: Anna Arca

She said: “I did an MA at Goldsmiths in 2013, and that was my first introduction to black British art, before then, I think I didn’t even know black British artists existed, if I’m honest.

“My course convenor, Paul Halliday, opened my eyes to what that whole movement looked like. And I remember, I was just stunned, and I felt like, ‘why did no one tell me this?’, because I always felt I was by myself. So, that course was really instrumental in understanding the legacy of us as artists.”

‘Small and in the corner’

Speaking about her latest exhibition, Ego Death, which includes oversized fabric triptychs, one inspired by Oscar winning film Get Out, she says: “There’s a thing sometimes about black artists, we feel like we can’t take up space, that we’ve kind of got to be small and in the corner. Be kind of apologetic.”

She credits artists including Turner Prize winning Lubaina Himid, Sonya Boyce and Claudette Johnson – who all came to prominence during the UK Black Arts movement (BAM) of the 1980s – as “paving the way” for her, adding: “I wouldn’t be here without them.”

Lisa Anderson, managing director of the Black Cultural Archives. Pic: standing in front of xx Bethany to update
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Lisa Anderson, managing director of the Black Cultural Archives

Lisa Anderson, managing director of the Black Cultural Archives (BCA), also credits the movement with inspiring her to pursue a career in the arts.

For her latest exhibition, Transforming Legacies, which celebrates the 40th anniversary of BAM, she reunited more than 50 artists of African and Caribbean ancestry to recreate the iconic 1958 A Great Day In Harlem photo.

Anderson says improving representation across the board is a matter of teamwork.

“We need allyship as well. We need collaboration from galleries, other researchers, universities, auction houses so that they can validate and support the growth of the work from these artists,” she said.

Black British artists gather for photograph inspired by Art Kane’s A Great Day in Harlem. Photograph David Kwaw Mensah
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Black British artists gather for a photograph inspired by Art Kane’s A Great Day in Harlem. Pic: David Kwaw Mensah

Culture wars

As government funding has dried up, sustained support needed to give communities a level footing has dropped away.

But in the face of adversity, Anderson is hopeful: “We’re in the midst of a culture war with some key figures in the government questioning the importance of equality and inclusion and questions of diversity. So, it is very discombobulating.

“But I think the momentum for focus on artists from the African diaspora in a meaningful, inclusive way is something to be hopeful about. I’m definitely going to be joining hands with other organisations, other key leaders within the UK and internationally to keep that going for the long term.

“What would be horrendous, is if 20 years from now, we’re having to have a similar conversation. I don’t want that to be the case. I just want this conversation to expand.”

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V&A East Storehouse will open in 2024 and V&A East Museum will open in spring 2025.

Transforming Legacies is on show at Black Cultural Archives, Brixton, until 31st January 2023.

Heather Agyepong’s, Ego Death exhibition was first shown at the Jerwood Space, London, in 2022 and will tour to Belfast Exposed, Northern Ireland, in 2023. Her solo exhibition, Wish You Were Here, will be showing at the new Centre for British Photography from January and her work will be included in Photo50 at the London Art Fair in the new year. She will also be appearing in Amazon Prime’s forthcoming thriller The Power.

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What if Romeo had a scar? Or Juliet a facial difference? The actors challenging screen conventions

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What if Romeo had a scar? Or Juliet a facial difference? The actors challenging screen conventions

Crystal was 18 when bone cancer changed her face. On top of chemotherapy and operations, she had to deal with other painful realities too.

She told Sky News: “Pre-cancer, and everything that happened I wasn’t aware how people who had facial differences were villainised or victimised.

Crystal before her diagnosis
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Crystal before her diagnosis

“Experiencing that, seeing the trauma, I’ve been so affected by people staring at me in the street, and hate comments about my appearance.”

She believes part of the problem is the screen portrayal of visibly different characters: “There’s a narrative in Hollywood, especially that’s been going on for years, that people are not addressing and seeing that these are real people.”

Refusing to let her differences keep her from pursuing her dreams, Crystal studied acting at LAMDA, one of the UK’s top drama schools.

Now a professional actress, she knows her appearance will always be judged.

“[My visible difference] is on my face. I can’t really hide anything. Every time I talk or enter a room, it’s not like anyone’s fault, I just know that people have that first perception or viewpoint of me.”

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With aspirations to one day appear in a Marvel movie, she hopes her drive to perform will help others in the future.

“I didn’t have anyone who looked like me as a role model… It would have just been so much better if I’d had that one person to look up to, to be inspired by.”

Crystal graduated from LAMDA in 2024
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Crystal graduated from LAMDA in 2024

Lack of representation is not the only problem. When visible difference does make it onto the screen, misrepresentations and negative overtones often reinforce stigma.

Nearly one in five people in the UK self-identifying as having a visible difference, such as a mark, scar or condition, according to charity Changing Faces.

New research they conducted into the way disfigurement is portrayed on screen found that people with visible differences were over twice as likely to be shown as a victim or a villain than as a love interest.

Film and television have used scars, burns and birthmarks as a shorthand for villainy across the genres for years. From Bond to Batman and Star Wars, to more family-friendly productions such as The Lion King.

Heath Ledger as the infamous Joker. Pic: Rex Features
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Heath Ledger as the infamous Joker. Pic: Rex Features

Rami Malek as Safin in No Time To Die, complete with scars. Pic: Universal
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Rami Malek as Safin in No Time To Die, complete with scars. Pic: Universal

And while visibly different characters aren’t common on screen, a woman with a physical difference in film or TV is even rarer.

Author and entertainment journalist Kristen Lopez says it’s because women’s value on screen is so tied up with their sexuality.

The author of Popcorn Disabilities: The Highs and Lows of Disabled Representation in the Movies has even come up with a term to describe the industry’s attempt to keep their leading ladies “sexy and beautiful”.

“You often see what I call ‘pretty disabilities’. It’s a disability that is not going to affect the physical perfection of the actress. And it will also allow for an A-list, usually non-disabled actress, to continue to play the character.”

Lopez says for that reason, films are more comfortable with portraying blind or visually impaired women, deaf women, or non-verbal women, because their disability “doesn’t mar the face”.

Speaking from her own experience of growing up with brittle bone disease, she says: “I worry about the next generation of disabled girls – what are they seeing? Do they feel represented?

“How do you navigate adolescence if you don’t see anybody that looks like you doing the things that every other young person is doing?”

Romeo Olukotun was just one year old when an accident left him with second and third-degree burns on his torso, chest and neck.

With his accident not spoken about at home, he admits, “I just kind of had to deal with that on my own”.

He did find some flashes of inspiration, including from singer Seal.

Romeo was just one when an accident left him with burns on his chest, neck and stomach
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Romeo was just one when an accident left him with burns on his chest, neck and stomach

“I loved how even though he had a visible difference and scarring on his face, he wasn’t looked down because of that. He was seen for his talent.”

With his confidence taking a hit due to his scars while at secondary school and university, he rebuilt his self-esteem as an adult through cheerleading.

Later spotted at a music video shoot he’d gone along to with a friend, he’s now an actor and model. But his visible differences have, at times, affected his casting.

Pic: Changing Faces
Image:
Pic: Changing Faces

Romeo told Sky News: “Because my scar on my neck looks like I’ve been stabbed, I would often be asked to ‘Try this [performance] like a thug or someone who’s on the streets’. And I didn’t like being labelled as that. I’m someone who is much more than my scars.”

He’s now a man on a mission: “I want to be someone who shows other people with a visible difference that they can be anything. They can play the romantic lead, they can play a villain if they want to. They can be a hero, not just be labelled as someone sinister and evil, Machiavellian.”

Pic: Changing Faces
Image:
Pic: Changing Faces

While the film and TV industries might be slow to change, LAMDA vice principal Dr Philippa Strandberg-Long is hopeful for the future.

“We have to make our students aware of the industry that they are going into and not, I guess, create a utopia where they’re not aware of the industry they’re going into. However, we can change it from how we educate our students that come out.

“Things won’t change overnight, but it will change over time. So, we have to put in the work at the grassroots, which is here.”

Changing Faces is the UK’s leading charity for anyone with a visible difference. They have a confidential support and information line for anyone dealing with the impact of visible difference.

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Ibiza lizards ‘near extinction’ due to invasive snakes and mounting litter

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Ibiza lizards 'near extinction' due to invasive snakes and mounting litter

Conservationists in Ibiza are warning the island’s native bright blue and green lizards are coming ever closer to extinction due to the mounting threats of invasive snakes and tourists’ litter.

The Ibiza wall lizard is endemic to Ibiza and neighbouring Formentera and is vital to the ecosystem of the islands, experts say, for pollinating plants and controlling pests.

Since the 2000s, the small, colourful reptiles, which are harmless to humans, have become endangered due to the proliferation of invasive snakes that first arrived in imported trees.

Conservationists say Ibiza lizards are endangered. Pic: Dean Gallagher
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Conservationists say Ibiza lizards are endangered. Pic: Dean Gallagher

Conservation foundation IbizaPreservation says snakes are now present on up to 90% of the island, while the lizard population has decreased massively, believed to have disappeared from about 70%.

But there is also another issue affecting the species – litter left mainly by tourists at beauty spots.

Dean Gallagher, a snake catcher on the island, says he is constantly finding the bodies of dead lizards stuck inside discarded bottles and cans at Es Savinar, a southerly viewpoint where people often gather for sunset.

“I’m finding these lizards trapped in cans and bottles,” he tells Sky News. “Once they get inside their feet get wet from the drink inside, the beer or the Red Bull, and they can’t get out. Sun comes up, heats up the bottle, the can, and just fries a lizard inside. It’s absolutely devastating.”

Dean Gallagher has lived in Ibiza for more than 20 years
Image:
Dean Gallagher has lived in Ibiza for more than 20 years

Tourism accounts for about 84% of Ibiza’s economy and is vital for the island, with tourist spending reaching 4.3bn euros in 2024, according to the Balearic Institute of Statistics (IBESTAT) – an increase of 62% since 2016. The number of tourists reached a record high of more than 3.7m for Ibiza and neighbouring Formentera in 2023 – an increase of almost 25% since 2016.

The land Dean looks after at Es Savinar is private, he says, but people ignore signs and fences which were replaced at the beginning of the summer.

“We do rubbish collections probably once or twice a week,” he says. “We clear the whole area of bottles and cans then the next time, we go back and there’s even more.

“Bottles can cause bush fires. The forests are really dry at the moment, just one spark can set this place alight. And [litter] is also killing our lizards. They’re marvellous, beautiful creatures, they’re not aggressive and they keep the bugs away. The ecological value is really important.”

Signs have been put up around the private land. Pic: Dean Gallagher
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Signs have been put up around the private land. Pic: Dean Gallagher

Dean lives near Santa Eulalia, where he says numbers are scarce. “Lots of parts of the north of the island now, they’ve completely diminished and it’s very sad,” he adds.

“And the very southwest corner of the island where this viewpoint is, this is the last place where they are in stable numbers. But the excessive rubbish, tourism, snakes, are gonna wipe them out completely.”

Gallagher says he is constantly finding the reptiles trapped in glass bottles and cans
Image:
Gallagher says he is constantly finding the reptiles trapped in glass bottles and cans

Visual surveys of areas of Ses Salines Natural Park by environmental association GEN-GOB have found the population there has decreased by between 70% and 90% since 2023.

GEN-GOB, Friends Of The Earth Ibiza and IbizaPreservation are among several organisations that have been working to save the species in recent years.

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Is Ibiza at breaking point?

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Ibiza’s shanty towns – the side of the island most do not see

Jordi Serapio, coordinator of Protegim Ses Sargantanes, IbizaPreservation’s lizard protection project, says abandoned bottles and cans are “deadly traps” for the animals.

And snake numbers continue to grow and expand toward territories where lizards still remain, he adds. The most common snake on the island – and the biggest danger to lizards – is the horseshoe whip snake, but other types have been spotted.

“It has followed a northeast to southwest expansion,” he says. “The highest snake densities are observed in what they have called the ‘invasion front’ – this is known precisely thanks to trapping.

“In contrast, in areas where lizards have already become extinct, there appears to be a much lower density of snakes.”

So the more food available for the snakes, the higher the numbers.

“This is something common in most biological invasions, which end up regulating themselves naturally,” Jordi says. “The unknown in this case is whether some lizard populations will manage to survive and adapt. Although everything seems to indicate that they won’t.”

He also highlights another problem – predation by both feral and domestic cats – which he says is a growing threat.

“In the current context of the species’ extinction, any additional pressure worsens the situation.”

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Former London’s Burning actor John Alford guilty of sexually assaulting girls aged 14 and 15

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Former London's Burning actor John Alford guilty of sexually assaulting girls aged 14 and 15

Former London’s Burning actor John Alford has been found guilty of sexually assaulting girls aged 14 and 15 at a friend’s home.

Jurors heard the 53-year-old, who rose to fame in BBC show Grange Hill, sexually assaulted the girls while they were drunk following a night out at the pub.

St Albans Crown Court was told he bought £250 worth of food, alcohol and cigarettes from a nearby petrol station in the early hours of the morning, including a bottle of vodka which the victims subsequently drank.

Alford then had sexual intercourse with the 14-year-old girl in the garden of the home and later in a downstairs toilet, and inappropriately touched the 15-year-old girl as she lay half asleep on the living room sofa.

He denied four counts of sexual activity with the younger girl and charges of sexual assault and assault by penetration relating to the second teenager at a property in Hertfordshire on April 9 2022.

But, after 13 hours of deliberations, he was found guilty.

As a firefighter in one of his most famous roles. File pic: PA
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As a firefighter in one of his most famous roles. File pic: PA

Alford, of Holloway, north London, who was charged under his real name John Shannon, had previously told the court the allegations were a “set-up”.

He put his head in his hand and shouted “Wrong, I didn’t do this” from the dock as the verdicts were read out in court.

‘I didn’t want sex with an old man’

During the week-long trial, Alford, who cried while giving evidence, told jurors “I never touched either of them girls”, adding there was “no DNA” evidence and that he would stand by his denial “until the day I die”.

However, the 15-year-old girl said: “We were all just like dozing off. That was when John started to touch me.”

Asked how she felt after the assault, the girl said: “Sick. I felt absolutely sick. I wasn’t going to tell anyone.”

In a video of her police interview played to the court, the 14-year-old girl said she had never had sex before the night of the alleged incidents.

“I told him to stop because I didn’t want to have sex with an old man,” she said.

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