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Ghanaian photographer features in London exhibition

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Nkrumah circa 1952 wearing his 'prison graduate' cap © James Barnor/ Autograph ABP

An exhibition of black British photography includes the work of James Barnor, whose 60­year career took him from downtown Accra to the London of the ‘Swinging Sixities’. By Angela Cobbinah

James Barnor
James Barnor

If ever there was a phrase to describe of the 60-year career of photographer James Barnor it would be staying power. As it happens, Staying Power is also the title of an exhibition of black British photography being staged by the Black Cultural Archives in conjunction with the Victoria and Albert Museum in London.
Staying Power sets out to show how individual photographers have portrayed the black British experience from the 1950s to 1990s under the broad theme ‘from protest to progress’. While most of the 17 photographers featured grew up in Britain as the children of Caribbean migrants, and as such framed their images from the margins of a hostile society, Barnor was born in Ghana in 1929 and spent 10 years in London in the 1960s working for the pioneering African news and lifestyle magazine Drum. In contrast to the gritty social realism of many of the other exhibits, his work stands out for its lightness of touch and sense of glamour.
Drum, which had become an important platform for a new generation of writers and photographers who were changing the way black people were represented, sent Barnor to take pictures of other personalities, including Muhammad Ali, and numerous aspiring models, one of whom would grace the front cover of a 1967 edition of the magazine.
“She came along wearing a red scarf and I felt it would blend in well with the pillar box, the sort of well-known London landmark I liked to use,” Barnor recalls.
Barnor lived in Bloomsbury and acknowledges that he lived a life of relative privilege.”I moved in enlightened circles so I did not have to put up with most of what other black people had to go through, though I did notice that when I sat on a bus many people didn’t want to sit next to me.”

Nkrumah circa 1952 wearing his 'prison graduate' cap © James Barnor/ Autograph ABP
Nkrumah circa 1952 wearing his ‘prison graduate’ cap © James Barnor/ Autograph ABP

Barnor eventually returned to Ghana, where he helped open the country’s first colour-processing laboratory and later worked as an official photographer in the Castle, the seat of government at the time.
His portfolio was already overflowing with images dating back to 1953, the year he set up his Ever Young studios in Accra’s lively port-side district district of Jamestown, specialising in portraiture using an old-fashioned glass plate camera.
“I called it Ever Young because I used to touch up photographs to erase lines and blemishes on people’s faces – just like Photoshop only manually,” he laughs.
A trail of people would turn up to his studios, from smiling newly weds and earnest-looking children kitted out for a fancy dress party to a proud female recruit of Ghana’s new police service. As a body of work, they suggest the optimism and hope of a people hurrying along on their road to nationhood.
Barnor also possessed a Kodak box camera and loved to be out on the streets capturing what was going on, later joining the Daily Graphic – set up in 1950 by the UK’s Daily Mirror – as a freelance photographer. His services were also enlisted by the South African-based Drum, the most widely-read magazine in Africa at the time.
It was during this period that he had Ghana’s founding father Kwame Nkrumah firmly fixed in his sights, greatly helped by the fact that Nkrumah regularly held independence campaign meetings on a patch of open ground in front of his studios.
“It was a great vantage point,” he says. “I was like the original paparazzi, not always welcome because I worked for what was considered a white man’s paper.”

'Mike Eghan, Piccadilly Circus', 1967. © James Barnor/ Victoria and Albert Museum, London. Supported by the National Lottery through the Heritage Lottery Fund.
‘Mike Eghan, Piccadilly Circus’, 1967. © James Barnor/ Victoria and Albert Museum, London. Supported by the National Lottery through the Heritage Lottery Fund.

But later he got to know Nkrumah and would be invited to the “old man’s” home to photograph him in more relaxed settings, and Barnor has unique shots of him playing football and posing with Ghana’s boxing chap Roy Ankrah.
Yet it has taken years for Barnor to gain any recognition, either in Ghana or the UK, where he returned to live in the 1990s. “There are very few photographers with my experience of both plate glass and hand held cameras, of studio work and photo-journalism, yet I had to wait until I was 80 before I was properly recognised.”
This came with a retrospective exhibition of his output at the Rivington Place gallery in London by Autograph ABP, which has spawned immense interest in his work as well as several other shows, including Another London at Tate Britain in 2012. A solo show is due to take place in Paris later this year.
While Barnor is delighted at the latest turn of events, the frustration of being virtually overlooked for so many years still hangs in the air: “It is just one of those things,” he finally shrugs. “It is lucky that I held on to my negatives and it is lucky that I have lived so long to tell the tale.”
Staying Power: Narratives of Black British Experience is showing at the Black Cultural Archives until June 20, and the Victoria and Albert Museum until May 24. James Barnor will take part in day-long conference at the V&A about the contribution of black Britons to British culture and society and the art of photography on May 23

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