In January 2018, and in collaboration with the National Railway Museum in York, the Faculty of Arts and Humanities at the University of Sheffield began the Railway Cultures Project. The outcomes include 2 books (more on which later) and a conference, which will take place on April 19-20. The conference – Museums in Context and Partnership – will be free to attend and you’ll be able to reserve a place from early next week. Here’s the programme so that you can take a look and get the date in your diary!
I’m currently writing an article on Barberousse, an infamous colonial prison built by the French in Algiers in 1856 and which, after three years of closure in the immediate post-Independence era, was re-opened by President Boumédiène in 1965, under the new name Serkadji.
On March 19th 2014, the day of the 52nd anniversary of the implementation of the Évian Accords, the Algerian Minister of Justice, Tayeb Louh, along with a delegation that included the Minister for Culture, Nadia Labidi, made a high-profile visit to Serkadji prison, which had recently been closed and its inmates transferred to other prisons across Algeria. A press announcement in December 2013 had already informed the Algerian public that the prison was going to be transformed into a museum dedicated to the national memory. The Minister’s statement to the media on March 19th – ‘‘Aujourd’hui, ce lieu historique redevient un lieu de recueillement et de mémoire’ (‘Today, this historic site becomes once again a site of contemplation and memory’) – was referring, however, not to Serkadji’s more recent history, but to the time when the prison was known as Barberousse – a renowned colonial penal insitution built by the French in 1856 and in which, during the war of independence, many FLN mujahidin were incarcerated and guillotined. In this article, the first substantial and holistic account of the discursive construction of Barberousse in cultural and political discourse, I will explore this most recent, but also other instances in which the prison has been deployed and harnessed as an emblem of repression and resistance, colonialism and the struggle for independence. I will begin with an overview of the what I identify as the key stakes in the quite extensive representation of Barberousse in cultural production, focusing both on the accounts provided by films, memoirs and novels (by Henri Alleg, Assia Djebar, Gillo Pontecorvo, Leila Djabili and Mohamed Saharoui) of the violence and abjection that constituted daily life intra muros, while highlighting also the prison’s becoming-symbol of the bloody birth of the independent Algerian state. In the second part, I will discuss the insoluble link between the prison and the (construction of the) nation state. Closed in 1962 by President Ahmed Ben Bella, who designated the prison an historic site and intended to turn it into a museum honouring the memory of the FLN, it was reopened in 1965, under its new name, Serkadji, by Houari Boumédiène, who – along with his successor, Chadli Bendjedid – used it to detain dissidents and political prisoners, as well as common law criminals. Thus, the prison became a means in the post-Independence era of shoring up the power of an increasingly contested regime. I will conclude with a reflection on the ways in which the museum now proposed by the Algerian state not only consolidates authorised histories, but also serves to erase others, including the massacre of 96 prisoners by state forces within the walls of Serkadji in February 1995.
If you are writing about space and place in your work (whether it’s narrative non-fiction, poetry, short stories or novels), you might be interested in this new creative writing group.
Come along and share your work, hear others read theirs and get feedback on your latest writing projects.
The first meeting is on Thursday June 15th, 7-9pm at Bank Street Arts.
Please email Amanda (email@example.com) if you’d like more information, but otherwise you’re welcome to turn up on the day, without the need to reserve a place.
Please note there will be a donation box, with all proceeds going to Bank Street Arts.
Here’s the programme for the symposium on art, copyright and copyleft that will take place at Bank Street Arts, Sheffield, on June 16th. There will also be an exhibition of works by Bryan Eccleshall. All proceeds from the event will go to Bank Street Arts. £10 entrance fee, including light lunch and refreshments.
I’ve recently received the excellent news that I was successful in a funding bid to the SURE Network scheme to employ 6 University of Sheffield students to work as researchers over the summer on a project that will be led by myself, Sophie Watt (SLC, University of Sheffield) and Casey Strine (SIIBS, University of Sheffield). The project is about how migration, migrants and refugees are represented in the media and contemporary art.
The outcomes of the research will be an article and a short film about the project. In the longer term, we also hope to bring an exhibition of work by Francophone artists to Sheffield, which will explore the ways in which artists have sought to challenge some of the dominant tropes vehicled in press photography around the question of displaced peoples.
SUMMARY OF RESEARCH PROJECT
Call for papers
A symposium: Art+Copyright/Copyleft
June 16th 2017 at Bank Street Arts, Sheffield
11am – 4pm
Confirmed Keynote Speakers:
Richard Taylor, Lawyer and partner at DLA Piper LLP, specialist in Intellectual Property
Professor Robert Burrell, Head of School of Law, University of Sheffield
There will also be an exhibition of works by Bryan Eccleshall, June 16th (including private view in the evening) – June 17th 2017.
You can listen to Richard Taylor’s recent programme on BBC Radio 4, Copyright or Wrong? (including an interview with Bryan Eccleshall) here.
occursus and Bank Street Arts are pleased to invite proposals for 20-minute contributions (including, but not limited to, papers, presentations and readings) that reflect critically on the issues and practicalities of copyright and copyleft, with particular reference to the arts (broadly interpreted).
Abstracts (300 words maximum) for 20-minute papers or presentations and a short biography (100 words maximum) should be sent to Amanda Crawley Jackson (firstname.lastname@example.org) by May 15th 2017. Decisions will be announced in mid-May.
To reserve a place at the conference, please email Amanda Crawley Jackson (email@example.com). Please note that there will be an attendance fee of £10, to include a light lunch and afternoon refreshments (tea, coffee, biscuits). Attendance fees will be donated to Bank Street Arts.
Should you wish to purchase one of the works exhibited by Bryan Eccleshall on June 16th-17th, please note that 50% of the sale price will be donated to Bank Street Arts. Furthermore, should Bryan sell his recent work, After Pablo Picasso’s Guernica, in the course of this selling show, he will be donating 100% of the sale price to Bank Street Arts. A catalogue of the exhibition, including prices, will be made available before and during the exhibition.
Running between February 13th – March 3rd 2017, the 10bn Talks accompany an online course open to all second-year students at the University of Sheffield. Many of these events are open to the wider University and the public.
As one of the two academic leads working on Level 2 Achieve More: 10bn, I’m looking forward to hearing colleagues including Wyn Morgan, Tony Ryan, Megan Blake, Casey Strine, Tom Webb, Alastair Buckley, Cristina Cerulli, Jackie Labbe, Marco Viceconti, Annamaria Carusi, Paul White and many others talk about issues relating to a predicted global population of 10bn.
L2 students from all disciplines, faculties and departments at the University of Sheffield can sign up for L2 Achieve More here.