Amid all the current journalistic talk of whitelash and the attempt to discredit identity politics following Trump’s election success, the ideas of Frantz Fanon, the black Martinque post-colonial thinker and psychiatrist who died in 1961, could not be more urgent or prescient. His insights into the link between colonial oppression and psychopathology provides the springboard for the Finding Fanon trilogy. These fine films are carefully crafted meditations produced over the last two years by the “culture-busting” partnership of David Blandy and Larry Achiampong. The interim version of Finding Fanon Part Three (which in fact looked highly polished) premiered on December 6 at Tate Modern as a live performance with a hypnotic musical accompaniment on cello, synth and percussion. Rich in powerful images and with a gently delivered but hardhitting text, it kindles hope that though our malaise is deeply rooted, our children may point the way towards a more tolerant and cooperative world.
The problems they try to grapple with are huge and difficult but crucial. They point out that the world has shrunk and social media can reduce us to icons and totems. Essentially they are probing the dilemma of how a personal identity can be forged in a world where the internet has transformed our view of the world and our past. Are we going to allow the internet to reduce us to data networks which either perpetuate or ignore our colonial legacy? The two artists appear as a dapper, besuited, somewhat querulous duo, reminiscent of the notorious Gilbert and George or the absurd Tweedledum and Tweedledee. But the thrust of the text is encouraging us to see them as avatars diminishing their individuality but acting as coathangers for the film’s ideas. Their worsted wool three piece suits and their steam punk goggles are subtly different as if to say : “We strive for commonality but the colonial legacy still sets us up as unequal associates”
Iconic images are beautifully captured in HD – the sea, the sky, a forest canopy, flaming sticks – but the commentary is pushing us to examine what new meanings they might have acquired in our current political and environmental crisis. Are the oceans now seen as a threatening no-man’s-land claiming migrant lives rather than in the Windrush days when it provided safe passage to the mother country? Will our landscape be degraded by climate change? The Blandy and Achiampong broods feature as signs of hope. When the children work together to build a shelter from discarded branches is their ability to cooperate a model that the world can follow in its mission to stop global warming? But could their wooden teepee just as easily be a bonfire? Social psychology research on US children in the 1970’s confirmed that we will always create outgroups unless there is a bigger problem that requires collaboration to resolve. Will it take the threat of extinction for us to recognise our common humanity?
Sumptous abstract digital animation simulating a vortical maelstrom is inserted to dramatise thoughts of black holes and the loss of identity. A strange fantasy sequence of the digitally rendered artists swimming gracefully in the ocean depths undercuts the usual Mediterranean migrant narrative of the sea as a potential killer. They have begun to develop the use of gaming tropes and graphics software to generate stories from the struggles of other oppressed groups such as ex-prisoners under the banner of Finding Fanon Gaiden.
The problem with the current permanent Tate Modern collection is that it is not nimble enough to be truly reflective of our current concerns. They need to show works like this that are immediate responses to our rollercoaster world. There is no better illustration of this than Finding Fanon’s commentary comparing the racist imagery of Enoch Powell and Donald Trump:
“They were wrong. There were no rivers of blood. Instead there are walls in people’s minds wishing for boundaries from “the other”… trying to contain something that does not exist”
The mere fact of two artists from different sides of the post-colonial divide coming together to explore the personal and historical implications of that troubled relationship and the image of their offspring forming a harmonious group to pursue a common purpose is what makes this such a moving and thought-provoking artwork.
Performance credits. Camera and artistic director: Claire Barrett. Cellist: Yoanna Prodanova. Synthesiser: James A. Holland. Percussion: Shepherd Manyika. Speakers: Ima-Abasi Okon and Nicola Thomas