Jubilee Arts was a unique community arts organisation based in Sandwell in the Black Country. This web site documents the period 1974-94, two decades of tremendous change. Locked away in the basement of West Bromwich Town Hall since the last century, we’ve dusted off the archive boxes, bringing them back to the light of day to share our findings here.

The last two shows with archive material at West Bromwich and Smethwick have now been derigged but you can find documentation on the Facebook page and we will be adding more material to this site. There’s plenty to explore here!

Image of Week

From the archives we have selected a particular photograph to share with you, along with some thoughts from local individuals, our curators and participants. Perhaps never seen before, these images offer an insight into the Black Country and our changing lives.

Tantany 1991

Beverley Harvey recalls working with local youth on the Tantany estate: “In 1991, there had been a growing number of problems with young people on the Tantany, a residential area adjacent the north-east end of the high street. A survey undertaken by Sandwell Racial Equality Council had identified a number of ‘hot-spots’, in particular under a bridge that was the main gateway to the estate. SREC were concerned about a rise in racial abuse and tensions between black and white youth who were hanging out in this area. Jubilee had earned a reputation for addressing sensitive issues through engagement with the arts, and working alongside identified perpetrators. It is for this reason that Sharam Gill from SREC approached Jubilee, and in particular myself. After a few meetings, I came up with the first phase of an engagement plan. In those days we had coined the phrase ‘quick and dirty’ to describe an initial proposal – that really meant casting the net out and seeing what happens. When I first met with various groups of young people living on the estate, at the local school hall, Sharam introduced me as an artist and they certainly did not show any interest or enthusiasm. I said that I wanted to work with them and document the estate in order to improve the area for them and that they would be the best to do this. I asked if they wanted access to cameras so they could take their own photos of places that meant something to them, places that they thought to need developing or changing in some way, places they liked and disliked. I deliberately never mentioned anything about the reports of violence or the racial assaults that I knew existed; neither did I react to the scornful glare of (as I discovered later on), one of the perpetrators – who would only answer to the name of ‘Danger’.

We planned a series of workshops. Because of the initial distrust and tension, these were at first separate workshops for Black, Asian and White youth. All were based on the same topic, ‘Living on the Tantany’. Each of them were given cameras to document their area. Over several weeks it could be seen that the different groups had photographed the same places and had made similar comments about the area. For example, all had shown respect for Mr Patel who ran the only shop at that time on the estate and who had known all of them as they grew up. Each young person was also given a tape recorder to record other residents on the estate speaking about the area. In this way a meaningful interaction between the youths themselves – and with the adults on the estate – began to take place. As the photographs were being printed and comments on the relating to their imagery displayed, the young people became enthused and began to talk in more detail about the problems on the estate. It was at this stage issues of violent activity on the estate came to the forefront. Following this, I brought the groups together so they could talk about their photographs and suggested an exhibition to share their views more widely. As for the rivalry, I noticed a number of the young people began to distance themselves from a small number of their peers. They talked openly about how they hated hurting other people. They would alert me to signs and materials that would be seen as offensive, they talked about peer pressure. As they grew stronger and more confident both groups began to work and laugh together. Only one member felt uncomfortable, as he had no control over the group.

The photographs prompted a new discussion not about who lives on the estate, but what can be done to make it safer and better. The first important thing was the bridge; it was poorly lit, but because there was no youth centre on the estate the youths would meet and gather there. To them, it was a landmark. However elderly residents were terrified of walking under the bridge because in their mind nothing good ever came from groups of young people loitering. One issue that came from the young people was a lack of information – nobody knew what was going on. Another was there were no youth facilities at all, not even a youth worker on the estate. This part of the project culminated with an event on the Jesson playing fields to display material and capture more views from the residents. All young people organised the event and security was very tight – as this, they told me, they were very good at. A project was set in place to produce a local notice board and a newspaper to build on the positive communication that had transpired as a result of the young people. A detached youth worker in place; and town planners agreed to put lighting under the bridge.”

More about the Tantany project work here: https://jubileeartsarchive.com/tantany-92-94/

Previously

Projects

In the spirit of the original arts group we returned to the original locations in the borough and worked with groups to explore and interpret the material. This has informed our choice of images to share. We’ve also made a selection of key projects to provide more background. Click on these below to find out more.

In the archive we came across some film material. Here’s some footage from 1977, which offers a good introduction to the work of Jubilee at that particular time.

 “Whether you’re a researcher, a history buff, a genealogist, someone interested in photography and the arts, you’ll find something fascinating in these archives. This archive includes the single largest collection of photography and film of Sandwell people and communities over the past 40 years, including people, communities and activities not normally reflected in the official archives of this period. It has given us the opportunity to re-engage with the communities today to celebrate their past heritage and think about how we may shape the future.”

Maureen Waldron, Archives Outreach Officer, Sandwell M.B.C