Berwick Film & Media Arts Festival

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Windrush Legacies and Experimental Forms

This programme contains 3 films.

In-Person screening

Maltings Henry Travers
22 September 2019, 16:00 – 17:23

This screening and conversation, programmed by Rabz Lansiquot, pairs dancer Zinzi Minott’s durational film works Fi Dem (2018) and Fi Dem II (2019) with Judah Attille’s Sankofa Film & Video Collective-produced Dreaming Rivers (1988) to consider lineages of Black British experimental film.

Q&A with Zinzi Minott

This programme is supported by the Independent Cinema Office as part of a forthcoming project with LUX celebrating films made in and around the Black British film workshops of the 1980s

In this Programme:

Date: 2022-09-28 11:17:43
ID: 2873
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Dreaming Rivers

Director

Martina Attille

Production Country

United Kingdom

Production Year

1988

Duration

33 mins

Date: 2022-09-28 11:17:43
ID: 2874
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Fi Dem

Fi Dem is both a durational work, a continued investigation into Blackness and Diaspora, and the title of the first video in a body of work that is made annually on the anniversary of the Empire Windrush docking in the UK on 22nd June 1948. This video was released 22nd June 2018. It journeys through Minott’s personal diasporic journey and takes this moment of Windrush Day to focus on those that move and have been moved. Those who stay and cannot leave and all of the slippage in between. Shifting between personal and community moments of loss and joy that sits at the border she hopes this work can add to a conversation about these experiences.

Zinzi Minott is an artist and dancer whose work focuses on the relationship between dance, bodies and politics. She explores how dance is perceived through the prisms of race, queer culture, gender and class and is specifically interested in the place of Black women’s body within the form. As a dancer and filmmaker, she seeks to complicate the boundaries of dance, seeing her live performances, filmic explorations and objects as different but connected manifestations of dance and body based outcomes and enquiry. Broken narratives, disturbed lineages and glitches are used by Minott to explore notions of racism one experiences through the span of a Black life. Sharing Caribbean stories in her work, she highlights the histories of those enslaved and the resulting migration of the Windrush Generation. Current commissions and residences are with BFMAF, Spike Island (Bristol), Transmission (Glasgow), 198 Gallery and Cubitt Gallery (London). In 2016–17, she was artist-in-residence at both Tate Modern and Tate Britain. Zinzi has also been an artist-in-residence at Serpentine Gallery, Rich Mix and Dance Research Space, and is currently a resident artist at Somerset House and Once Dance UK Trailblazer. Zinzi is one of two artists commissioned under ‘CONTINUOUS’, a four-year partnership between BALTIC Centre for Contemporary Art (Gateshead) and Siobhan Davies Dance to explore the relationship between contemporary dance and the visual arts.

Filmography

Fi Dem III (2020), Fi Dem II (2019), Fi Dem (2018), Gun Fingers and Opaque Bullets (2017), One Lyrical Bitch (2016)

Director

Zinzi Minott

Production Country

United Kingdom

Production Year

2018

Duration

6 mins

Dialogue Language

English
Date: 2022-09-28 11:17:43
ID: 2875
Online:
Open: 1
Geo:
VOD: no
hide: 1

Fi Dem II

The second work in the Fi Dem series, began in 2018, was released on 22nd June 2019. This June 22nd is the first National Windrush Day, a public holiday created by the government after many years of campaigning by the Black Caribbean migrant community and an extension of the wider reparations movement in the UK. A potential pacifier in the face of The Windrush Scandal no doubt. Minott reflects on this national holiday which sits in the middle of UK Pride Month and seems to get lost amongst its longer established contemporary. What does this mean for those like her, Black British first and second generation children and grandchildren of Windrush migrants who are LGBTQI+? This work also questions whose labour is it to remember this day? More specifically, the work of her maternal Grandmother Doreen Haynes, a nurse of 52 years.

Zinzi Minott is an artist and dancer whose work focuses on the relationship between dance, bodies and politics. She explores how dance is perceived through the prisms of race, queer culture, gender and class and is specifically interested in the place of Black women’s body within the form. As a dancer and filmmaker, she seeks to complicate the boundaries of dance, seeing her live performances, filmic explorations and objects as different but connected manifestations of dance and body based outcomes and enquiry. Broken narratives, disturbed lineages and glitches are used by Minott to explore notions of racism one experiences through the span of a Black life. Sharing Caribbean stories in her work, she highlights the histories of those enslaved and the resulting migration of the Windrush Generation. Current commissions and residences are with BFMAF, Spike Island (Bristol), Transmission (Glasgow), 198 Gallery and Cubitt Gallery (London). In 2016–17, she was artist-in-residence at both Tate Modern and Tate Britain. Zinzi has also been an artist-in-residence at Serpentine Gallery, Rich Mix and Dance Research Space, and is currently a resident artist at Somerset House and Once Dance UK Trailblazer. Zinzi is one of two artists commissioned under ‘CONTINUOUS’, a four-year partnership between BALTIC Centre for Contemporary Art (Gateshead) and Siobhan Davies Dance to explore the relationship between contemporary dance and the visual arts.

Filmography

Fi Dem III (2020), Fi Dem II (2019), Fi Dem (2018), Gun Fingers and Opaque Bullets (2017), One Lyrical Bitch (2016)

Director

Zinzi Minott

World Festival Premiere

Production Country

United Kingdom

Production Year

2019

Duration

9 mins

Dialogue Language

English