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CLAUDIA JONES THE MYTH BUSTER By Kwaku 66MICHAEL FULLER FOR BLACK HISTORY MONTH
Claudia Jones may have become better known in recent times, but her life’s story is shrouded in too much misinformation. History consultant Kwaku sets the record straight.
As we mark African History Month, expect Claudia Jones be become better known this year. She’s the subject of a chapter entitled ‘Black British Activism In Notting Hill’, which is in ‘Pearson Edexcel GCSE (9-1) History: Migrants in Britain c 800-Present’, published at the start of the new school term for students taking GCSE History. This month sees the republication of ‘Claudia Jones: A Life in Exile’ by Marika Sherwood et al, twenty-one years after it was first published.
She may well be even much more known in the immediate future, as I’ve read 2020 news reports that say there is a film in the works, to be directed by Frances-Anne Solomon, the director of the superb docudrama ‘Hero: Inspired By The Extraordinary Life And Times Of Mr. Ulric Cross’. The film based on Claudia’s life is simply called ‘Claudia’. More on that later.
It’s worth pointing out that even books on Claudia written by academics have their share of mistakes, whilst many articles in magazines and on the internet are riddled with the prevalent, same-old, same-old ahistorical narratives. So let’s see how many of these ahistorical narratives I can disabuse your minds of.
Claudia Jones was born in Port of Spain, Trinidad on February 21 1915. However, her father and mother did not name her Claudia Jones. She was named Claude Vera, and her surname was Cumberbatch. She did not travel to New York with her parents – she met them there two years after they had emigrated to the US. Claudia arrived in New York on February 9 1924, aged almost nine years old. She travelled with her sisters Sylvia, Meta, Irene and Lindsay, plus an aunt.
Although she is very much associated with Notting Hill, Claudia neither lived in or near Notting Hill. However, taking Notting Hill to also mean the surrounding environs, such as Ladbroke Grove, it’s fair to say that she pounded its streets many times. Her friend and comrade Amy Ashwood Garvey lived at 1 Bassett Street, where Claudia would no doubt have visited Amy on either a personal visit, or more likely to discuss some issue to do with either the local area or some form of mistreatment or discrimination experienced by Africans, particularly those from the Caribbean, in the late-1950s to the early 1960s.
Indeed, Claudia was one of the leaders of the London March On Washington For Jobs And Freedom “solidarity march”, which started its journey to the American embassy from Ladbroke Grove. This march took place on August 31 1963, which was three days after the momentous march in Washington.
Now, let’s blow one of the most deeply-entrenched myths – Claudia never organised a carnival in Notting Hill, neither did she start the Notting Hill Carnival nor was her, or strictly speaking the West Indian Gazette’s, Caribbean Carnival a precursor to Notting Hill Carnival (NHC).
The West Indian Gazette’s Caribbean Carnival was held annually between 1959 and 1964 across different London locations, of which none was remotely close to Notting Hill. By the way, it was not the first “Caribbean Carnival” in London, and neither did it have anything to do with the Antiguan carpenter Kelso Cochrane, who was murdered in Notting Hill more than three months after the inaugural event on January 30 1959.
Considering NHC started in 1966, and Claudia died on December 25 1964, and that
BY KWAKU
Claudia Jones:
The Myth Buster
NHC is essentially a street affair, compared to the Gazette’s sit-down variety show, the link between the two is not even tenuous. There’s no link, besides a ubiquitously repeatedly myth that’s taken on the cloak of a fact. Then, there’s another fact worth pointing out, which is that Notting Hill Carnival did not actually start off as an African Caribbean affair!
Describing Claudia as the Mother of Notting Hill Carnival, is not only factually incorrect, it also tarnishes Claudia’s legacy. No one would quibble if she’s described as the Mother of Caribbean Carnival. After all, she helped produce six in London, and two in the regions. That was an impressive cultural feat in itself, considering the times.
However, the image we ought to have embedded in our minds when we think about Claudia shouldn’t necessarily be about carnival, but the fact that she is undoubtedly the greatest British African activist ever! Certainly the Royal Mail’s 2008 issue of the Women of Distinction postage stamps got it right, when she was described simply as Civil Rights Activist. The accolade was rightly deserved, because Claudia was an indefatigable activist, whether driving forward the numerous organisations she belonged to, marching on the streets, or using the West Indian Gazette as a mouthpiece for race, gender, class or political activism.
One of the things I loved about ‘Hero’ was its blending of unassailable historical facts with dramatic licence, and I am hoping ‘Claudia’ follows suit. However, the troubling part of the news reports on the proposed film is the projection of “the pivotal role played by British-Trinidadian journalist and activist Claudia Jones in launching the world’s largest street festival, the Notting Hill Carnival.”
Upon reading this, I immediately emailed the director to clarify the film’s line on any connection of Claudia to NHC. Unfortunately, I did not receive a reply before filing this story. I did point out to the director that there is a group of carnivalists, including those of Trinidadian heritage, who do not subscribe to the connection of Claudia with NHC. Although their voices may be currently muted by the prevalent narrative, if in the unlikely event that the ‘Claudia’ film supports this received wisdom, I can foresee its reception in Britain being marred by such opposing voices.
Lastly, Claudia was the founding editor of the Gazette, which started in March 1958. It was a pioneering newspaper that covered a myriad of issues pertaining to Britain, the Caribbean, Africa and beyond. It was however not Britain’s first African newspaper, nor was it ever a weekly or sold in high street newsagents.
“Nearly fifty-seven years after her lonely death in a north London flat, let’s put the mighty warrior that was Claudia Jones in a rightful and correct context, as we tell her British African history.”
Kwaku is a history consultant and historical musicologist. He’s the organiser of the UK African Women Self-Organising Zoom event on Dec. 20 2021, which marks the 57th anniversary of the death of Claudia Jones.
From the first public sculptures of Black Britons to the home of Britain’s first West Indian newspaper, discover the Black histories of 31 places in England in October
#BlackHistoryMonth HistoricEngland.org.uk/BlackHistoryMonth
Michael Fuller
for Black History Month
Michael Fuller changed the course of British history when, in 2004, he became the first Black Chief Constable. Following a long and influential career in the police force, Michael now campaigns for racial equality, via his candid autobiography, ‘Kill The Black One First’, media appearances and corporate speaking engagements.
We sat down with Michael to hear what Black History Month means to him, and how businesses must tackle workplace prejudice - both in October and every other month of the year. Read Michael’s exclusive account of his history-defining career, in our latest interview...
What must businesses do this October to recognise Black History Month? I think businesses should celebrate Black History Month. It’s the one time in the year where we recognise the valuable contribution that Black people have made to the success of this country. It’s important that Black people feel included.
There are lots of ways that businesses can celebrate [Black History Month]. I think the most important thing is that there’s public recognition. It should be celebrated through cultural events, acknowledging the fact that it is Black History Month, in some way, both publicly and within the company.
Black History Month ensures the contribution of Black employees are valued and seen by that company.
Outside of October, how can businesses continue to tackle workplace bias and prejudice? Well, I think the thing that businesses need to do is focus on fairness and fair treatment. Everybody, whoever they are, whatever colour or sexual orientation, should be treated fairly.
I’ve run two organisations and I found that by focusing on fairness and fair treatment, nobody objects to that. Everybody wants to be treated fairly, so nobody objects to it and you make everybody feel included and part of that organisation.
And it’s actually highly motivating. When you have that feeling of inclusion and belonging, and when your views are actually listened to and responded, you feel part of that organisation and you’re inspired.
Certainly in the last two organisations I ran, when I managed to actually build that environment, both organisations became very, very successful and the performance improved exponentially.
Can you describe a time in your life when you faced failure, and how did you overcome the challenge? Well, I think one of the biggest things for me was not getting a promotion, as the impact on me was quite devastating at the time. I went to an assessment centre to become a mid-ranking Superintendent in the police, and I was unsuccessful at the assessment centre. The feedback I got was not at all helpful as to why I had failed. They said, there’s no ‘one thing’ or reason, it was not obvious as to why I had failed, so I was quite despondent and disillusioned.
I’d actually been very, very successful in the level below, in reducing crime. Wherever I went, I was asked to come to different policing areas as a Detective Chief Inspector and reduce the crime problems in those areas. I’d done that very, very successfully. I was quite pleased with my performance, more importantly, my bosses were and had written good recommendations.
But I didn’t succeed. So, I was going to leave the police - I think at the time, I was feeling very despondent. But then, I was asked to actually go to the Home Office and work with the Home Secretary and the Chief Inspector of Police, to be an advisor to them for two years.
So, I did that, and you can imagine my morale and motivation improved. I found it very, very satisfying that my knowledge and expertise was being used on a national level - not just in London, but on a national basis. I think that restored my faith and that’s why I stayed in the police.
What would you say to your younger self? I think the one piece of advice I would give to my younger self is, if you’re facing seemingly impossible challenges, don’t give up. If you can’t get over the challenge, you go around it, and vice versa!
But, either way, you don’t give up. You remain determined. Persistence for me wins the race - if you’re persistent, you keep trying. You might have to be adaptable with the way you try, but either way, you’ll generally be successful. And if you’re not? Well, try something else!
You mustn’t give up - that’s the thing I’ve learned.
I had a brilliant career, fully enjoyed my time. I think if you find the right job and you’re doing the right thing, then it doesn’t feel like work and that’s hugely beneficial as well.
See Champions Speakers’ list of the top Black History Month speakers for 2021, including Michael Fuller at www.champions-speakers.co.uk
Gloria Onitiri
From Nala in the Lion King to the Godmother in Lloyd Webber’s new musical Cinderella, Gloria Onitiri is a very busy performer...
Gloria is currently playing the Godmother in Andrew Lloyd Webbers new musical Cinderella. She is also well known for her starring role as Grace Jones in Sky Art’s Emmy award winning series, ‘Urban Myths’.
Her theatre credits are numerous and include: Guardiano in Women Beware Women and Katherina in Taming of The Shrew (Shakespeare’s Globe), Ghost of Christmas Present in A Christmas Carol, Nancy Colberg in Green Living (Old Vic Theatre), Yomi in Chiaroscuro (Bush Theatre), Celia in Napoli, Brooklyn (Park Theatre), Fates in Hadestown and as self in Wrong Songs for Christmas (National Theatre).
As well as Ida Arnold in Brighton Rock (National Tour), Cruella De Vil in 101 Dalmatians (Birmingham Rep), Radio in Caroline, Or Change (Chichester Festival Theatre), Deadpan Delores in The Stripper (St. James Theatre), Francine/Lena in Clybourne Park (National Tour), Anne in Egusi Soup (National Tour), Spirit in The Tempest (Bath Theatre Royal), Bacchae in The Bacchae (National Theatre Scotland) and Arion in Amphibians (Offstage Theatre). Gloria also created the role Josiana in The Grinning Man (Bristol Old Vic).
In the West End Gloria was an original cast member of Avenue Q London (Noel Coward Theatre), Nala in The Lion King (Lyceum Theatre) and Rachel Marron alongside Heather Headley in the original London cast of The Bodyguard (Adelphi Theatre).
Gloria is also the founder and host of the podcast, ‘Letter to A Black Girl’ where she roundtables with some of the best of Britain’s leading black women.
How did you start your career as an actor? I was a member of the National Youth Music Theatre (NYMT) aged 15-17. I was performing as Sylvia in Howard Goodall and Charles Hart’s original production of, The Dreaming in The Lindbury Studio, at the Royal Opera House.
There I was spotted by a casting director, who subsequently got in contact to ask me to audition for the London production of the Lion King.
I was still at school but ended up being cast as cover for Nala and singer ensemble and doing my A Levels at the same time!
What reaction did you get when you told your parents you wanted to become an actor? They have always been unbelievably supportive of my endeavours in drama and music.
I guess for them, they wanted to make sure I had lots of other skills added to my arsenal, because of how difficult an industry it is to be a part of and maintain a career in.
Do you remember who gave you your first break? Yes, it was the casting director Pippa Allion.
What medium do you enjoy the best… live theatre, television, or the movies? It’s hard to say which I enjoy best, but I love theatre, especially having been deprived of it for the last year and a half. There is nothing better than a group of people in a space sharing stories. Laughing together, crying together, feeling anger, shock, excitement all the things!!!!
What have been your most satisfying role/s to date? I think Katerina in Taming of The Shrew at The Globe is up there for me. She was a challenge, and I learnt a lot from her. But also, Grace… Grace Jones…of course… who wouldn’t be thrilled to play someone so iconic!!
Was there a moment when you realized you could actually make a living from acting? It has never been about that for me. I just love telling stories. The money comes along with it.
You played in the hit musical Hadestown at the National. Was it great fun to be in this fast-paced show, and how do you keep yourself in shape for eight shows a week? Hadestown was a revelation. The cast, the creatives, the band…the audience, the Olivier are all family. So much fun and humbling to be part of creating a magical show like this. So human! I also had to learn to play the accordion for it. Not sure I’ll ever pick one up again, but it was so much fun!
Keeping in shape for eight shows a week is much like for anything else, lots of rest, lots of gym and eating and drinking the right things.
You now play the role of the Godmother in Cinderella the Musical. Was it hard to have such a long delay the show because of Covid? It was more disappointing than hard. Our gorgeous cast had worked so hard and was ready to go, so it was a shame to have to delay any further.
What was the reaction eventually of playing again before a live audience? Going back and opening to a full house was euphoric! I’m not sure we all realised just how much we’d missed theatre, until then. I was extremely emotional.
Do you think the move towards diversity over the past few years in the industry has made a difference, especially for you as a person of African heritage? I think I’ve been part of that move, slowly over the past 20 years. Of course, I benefit from it, but it’s really beautiful to see younger/new performers not have to experience some of the difficulties that perhaps some of us slightly older cats have been through.
There is still so much more to do…but we’re on our way!
What advice would you give Black performers starting out in musical theatre today? Keep building your skills. Keep training/going to class. Don’t limit yourself to one style. Be curious.
Don’t seek validation, you are already seen. Concentrate on surpassing your own expectations of yourself!
Finally tell us how such a busy performer managed to start your podcast ‘Letter to A Black Girl’? Lockdown!!!! I wasn’t so busy then. However, I will admit it’s been harder to get the next season up but it’s coming!! With a nice little twist...
