Little Black Sambo:
A practice based and educational research project of Abdul Hakim Onitolo
Intents within the project:The image to the right is a contribution to the Little Black Sambo project from artist, Joanne GibbsThe Little Black Sambo project has within it a number of phases comprised of an eclectic array of work; it has an audio collation of recorded readings by different persons. There are thematic visual drawings, photographs, collages and paintings that have come about in response to the story, as well as an accumulation of paraphenelia that have become enriching to the project. For example, the figurine contribution from artist, Joanne Gibbs of the Little Black Sambo doll.The ideal possibility for the work will be that the sum total of parts begin to orientate a series and range of impressions that 'go together' in one way or another without having necessarily been composed exclusively for the furtherance of discourse relating to the book 'Little Black Samb' and Helen Bannerman. Little Black Sambo can be said to be the perfect vehicle for reconsideration of censorship, visual creeds that reify, over-determine, and stereotype creative impulses and practices. The making of work stemming from the Little Black Sambo book as a foundation, is an illustrative ploy, to address a range of concerns; cross-cultural diversity, hegemony, racism, childhood, micro-aggressions, intersectionality, self and group definition and identity, creative practice, gender etc. I am mindful of the need to remain vigilant in engaging approaches that will be functional, conceptually revealing, productive and transformative. Escaping from parochial mindsets creates opportunity and scope for engagement with a range of considerations. Little Black Sambo, in respect to tradition and historical change, often immersed in unresolved painful cultural and visual memory provides a repository flooded with cathartic possibilities and influences that inform the project.
About meAs a creative practitioner and lecturer the core interest and concerns of my practice are the multiplicities of visual culture culture, its pedagogy and encompassing influence. My works overarching visuality engages the culture and agency of the Black body as a conduit repository of knowledge. Conceptualised in the process of my practice is the assertion of symbolic value and currency. The working processes and intent aim to initiate heuristic curiosity. My studio practice is dynamic, open ended and approachable, as is my teaching.
LBS:Little Black SamboThe project aims of Little Black Sambo have meant the practice and work has taken on an eclectic mix of approaches and concerns . The sum of the projects work is demonstrative of a quotidian observation, using often spurious and alternate posits to inform preparatory visual or investigative processes. With the project I aim to demonstrate that Little Black Sambo as a lettered document that subsequently became a book of relevant note, has over time acquired a productive measure of resonant cultural, social and historical currency.
HeadingResurgent interest in the Little Black Sambo book prior to and since it was banned, has led to the publication of the story in other languages and more 'culturally sensitive' versions. The original version as written and illustrated by Helen Bannerman in 1899 is the main focus of my project concerns. This version was used in English schools up until it was banned in the late eighties. I have found that particularly in England, this story is remembered fondly by a generation of people of a particular age bracket as they may have used the book in school or had it in their homes. As evidenced in many of my solicited responses.
OrunMixed media on paper laid on board
Culturing your gods (detail)Mixed media on paper
Odu Ifa (detail)(Detail) Mixed media installation - Glass, Clay, Wood, Fabric, Paper, Screenprint, Mirrors and Dust.
- Event information will occassionally be posted hereThe following text is a contribution from Pat Poynton of Bristol, England:I'm a mature student and have four children who are grown up now, so when I read them these stories it was back in the late 1970's, when you could get these books from the local library, and they were considered perfectly acceptable; in fact I borrowed them because I could remember reading them myself in the 1950's when I was small. I have no idea whether they can be bought or borrowed now but I very much doubt it. Yet, are they racist? They are certainly promoting a Victorian stereotype and belong to the Imperial era which took a very long time to disappear from the British consciousness. After all, my parents were brought up by Victorians, and my mother was carted off to India as a small child for a couple of years in the 1920's, as her father was a private in the army, you just did your tour of duty in the Empire and the family all came along too. When my mother was at school in the 1930's they would dress up in red, white and blue each year to celebrate Empire Day and I dread to think the stories they told. So it took many, many years for Imperial attitudes to disappear. It would have seemed the most normal thing in the world for books like Little Black Sambo to be read to children, and, for me, I just wanted my children to read books I'd enjoyed.Would I read it now? Well, no, I couldn't. But, in many ways it has all the ingredients that make a perfect book for small children. They're repetitive, which is very important, and there's a happy ending and the main protagonist comes out on top, also essential. The overall message is that ingenuity will triumph over brute force. LBS is never aggressive, he is always calm and reasonable, and I remember the satisfaction that came when LBS and his family ended up eating the tigers, in an exceptionally delicious meal, after all pancakes are a huge treat. And the tigers melting into butter has that eeuuurgh factor, again, important for small children. It's a pretty brutal message beneath, of dog eat dog, but one which is peculiarly satisfying for small children. I do feel that many children's books produced these days tend to shy away from addressing these issues, and, as children increasingly find themselves in scary social situations such as nurseries at an early age, where they have to negotiate the minefield of social relationships, children's books can be incredibly helpful. Books which address fear and threatening situations can be very empowering for children.So, yes, of course it's a problematic book. But it's worthy of attention as I think the fact that it survived for so many years as part of the canon of children's books tells us something.Regards and best wishes for your project. Let me know if you want any more.Pat Poynton
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