The introduction of Black Culture to Britain
Over history black culture has stemmed itself over here to England in a number of ways, although primarily many due to their descendants and slavery. Thousands of Africans were taken and used for labour in colonies all over the world, although not many made it to Britain. One of the earliest on record was Rev. George Cousens of Cradley Heath Baptist Church in 1837, and there are records of small communities in Cardiff, Liverpool and South Shields during the 19th Century. During the First World War about 15,000 were drafted in for work in factories to aid the war machine, and after the wars many more migrated to America, the U.K. and Europe to fill the losses in the labour market. In 1948, the British Nationality Act gave British citizenship to everyone living in a commonwealth country with full rights to settle in Britain.
One of the most notable turns was the first group of 492 immigrants to London in 1948 on board the MV Empire Windrush. It had come from Australia docking in Jamaica and had been advertised for cheap transport for people to work in the U.K. They were temporarily housed in Clapham South near Brixton, and although many only intended to stay for a few years the majority settled permanently.
Though they had been invited by the British government, naturally they were met by intolerance and racism from certain areas of society. Many were turned down housing due to shortage after the wars, which led to the first clashes between blacks and whites in Britain. These continued to worsen throughout the 1950′s. The Notting Hill carnival was created by the Caribbean community as a positive response to this, something which is still going traditionally today. By 1962 Britain passed the Commonwealth Immigrations Act restricting the entry of immigrants, and soon only those with work permits or parents born in the U.K. could gain entry. But black culture had already rooted, and an entire generation of Britons with Afro-Caribbean heritage now existed, contributing to a wonderfully bright and vibrant mix of cultures alive in Britain.
The recession and widespread unemployment in the 1970′s and 80′s were areas that seriously affected the less economically prosperous Black community, and caused widespread discrimination and poverty. Many riots were caused by oppressive policing, and before long the trouble got out of hand. The then Home Secretary, William Whitelaw, commissioned the Scarman report the find out the cause of the troubles. It highlighted ‘racial discimination and disadvantages’ in Britain and the need for change. This discrimination is still widely discussed by black music artists even today, especially in Hip Hop and Rap.
Unfortunately you cannot ignore the recent rise of gang culture and gun crime in Britain, which many blame on the ‘gangsta rap’ scene, although gun crime is on the rise all over the place and will be as technology gets better so do weapons. Tensions between racial gangs have always been heated. One I remember was in Birmingham in 2005 between the Asians and Afro-Caribbeans. My brother lived just round the corner, literally, at the time and he was advised by the police not to go out unless absolutely necessary. And I have to admit, I can see why people think the videos and lyrics glamorise gang culture sometimes. I’m sure the artist will say it’s a reflection of life but at times it just seems to highlight the bad stuff for the sake of it, focusing on the areas that show off power and money for no apparent good reason. Life’s not all doom and gloom, which I’m sure the majority of the Black population would agree with me on.
Centers across Britain have been set up to accommodate for the specific communities within the Black population and deal with any concerns about racial or social issues. These have helped link communities natonwide, helping them to grow into society naturally. Nonetheless, Afro-Caribbeans are still under-represented in national polotics, although with the appointment of Barack Obama as U.S. President I’m sure it’s not long before there are many more prospering in the political community.
The Afro-Caribbeans bought with them religious practices more common to North America; they chose to continue these religions, such as Seventh Day Baptism and Pentecostalism, as well was supporting new churches which act as social centres for the surrounding community. They played a pivotal role in establishing gospel choirs like the London Community Gospel Choir. Many others have converted to Islam, while a proportion practice
other religious beliefs such as Rastafarianism. The movement has managed to spread beyond the Afro-Caribbeans, being acquired by indigenous Britons as well as others.
Members of the community were some of the pioneers of the underground pirate radio stations, which celebrated a mixture of black music whilst taking the time to have discussions giving the community a chance to have their say and get involved. In 2002 BBC Radio 1Xtra was set up to cater for the Afro-Caribbean music culture. These styles were bought to England during the mass immigration from the 1950′s to the 1970′s, and they quickly became popular in all of Britons cultural origins. The earliest was from that original ‘Windrush’ shipment, an artist already famous in his native Trinidad, ‘Lord Kitchener’. Immediately he got a booking in the only West Indian Club in London and before long he was performing in large showhouses and music halls. Musicians began to collaborate with each other, creating a jazz/calypso fusion.
Jamaican music styles reached Britain in the 1960′s, fast becoming the popular music behind young black culture. The success of mainstream Jamaican and Ska Artists propelled black music into mainstream cultural life. British Afro-Caribbean’s began putting their own influence on the changing styles of Jamaican music. This new sound inspired a fresh generation of youth, and sub genres and sound systems started popping up everywhere. The phenomenon that was Bob Marley transformed a Black British music industry, and his association with Rastafarianism influences scores of young to discover their true roots.
By the mid 1980′s, British Afro-Caribbean music artists were incorporating American Hip Hop and house styles, and began shaping Britain’s dance music culture. An explosion of musical styles was born, combining elements of European trance through to Jamaican dancehall. Afro-Caribbeans were at the cutting edge of the jungle and drum and bass scenes, and although the digital sound was most certainly revolutionary of it’s time it still had it’s black music roots evident, which it still does today.
