The Erasure of Critique: Why Black British Artistry Needs Honest Discourse

‘Preserving art to outlive us’ is the foundation Khads Ark Magazine is built on, but I believe it is an ethos we should adopt in our approach to cultural contributions and subsequent discussions. Preservation here exists to define the collective approach of documenting Black British and diasporic movements so that future generations can experience them as authentically as the day they happened. ‘Preserving art’ is the haptic engagement with cultural expressions across the span of space and time.

John Akomfrah on Remembrance by The Imperial War Museums

 The sensory experience of art facilitates connection to its context, influences and meanings. Your body moves with conviction to a song you never heard before because the 120bpm and Fela Kuti sample resonates and disrupts your senses with its overfamiliarity. For me, the cultural validity in an art form comes from how ‘well’ it resonates. In physics, resonance refers to the amplified response of an object or system when it vibrates in sync with an externally applied oscillatory force. This phenomenon is observed in acoustics, where musical instruments and the human voice produce amplified sound waves at specific frequencies. Just as an object vibrates in sync with an external force, audiences respond instinctively to art that aligns with their cultural memory and lived experiences.

Between the Two My Heart Is Balanced, 1991 by Lubaina Himid. Photograph: Tate © Lubaina Himid

It’s how Black artistry persists across time, it reverberates through new and experimental creations while retaining its foundational impact. This has taught me that synchronisation can occur without uniformity. I use the word uniformity to convey that resonance is not dependent on homogeneity. Rather, it thrives on the diversity of expressions that remain culturally legible to those attuned to their significance. This brings us to the core issue at hand. 

Does cultural legibility matter these days?

When fascism, capitalism, culture, and the digital landscape combine, it is a cataclysmic evil.

The digital and sociopolitical environment we find ourselves in has eroded the relationship between artists and audiences. A vital feedback loop has been disrupted. A loop we need to sustain a healthy cultural ecosystem. However, in today’s climate instant validation often outweighs critical discourse and those who offer nuanced or informed perspectives on art are increasingly dismissed as ‘too woke.’ 

The influence of financially successful cultural producers has gradually diminished the space for critical engagement within Black artistic culture. Similarly to their supporters, these producers often come from underprivileged backgrounds and tend to emphasise material success. Their popularity is not driven by a commitment to cultural critique but by a populist appeal that speaks directly to the aspirations of their audience. This culture of anti-intellectualism shifts the focus from understanding Black art to admiration of the wealth and fame these producers have achieved. The culture of anti-intellectualism that permeates this environment leaves little room for the types of discussions that could enrich the cultural ecosystem.

Dr James O. Young would refer to these people as the ‘educated audience.’ Without degrees, formal training, or certification they possess the sensory and intellectual abilities to appreciate the aesthetic value of Black art forms. They regularly engage with various artistic expressions, such as music, literature, visual arts, dance, and theatre. They have a deep understanding of the history, traditions, and cultural nuances of these art forms that are required to experience, discuss, and critique Black art in a way that supports and enhances the quality of artistic production.

As a by-product of anti-intellectualism, we have seen an ‘Any Criticism is Invalid’ mindset emerge. In this culture, the artists become defensive whilst the audience exists as mindless, hateful, broke wannabes hiding behind their screens. Self-preservation matters most leaving no space to receive constructive critique rooted in cultural or aesthetic significance. 

While artists may be experts in their respective crafts, the cultural context of their work is shaped by societal movements, audience reception, and various other external factors. The role of an educated, informed audience isn’t passive appreciation but active participation in ongoing conversations about art’s place in society, particularly in movements that challenge dominant narratives or affirm cultural identity which in this case is ‘Black British’.

The question of Black Britishness and its representation. 

The role of the educated audience in these conversations is not just to critique but to safeguard the integrity of Black British identity, ensuring that art and culture outlive fleeting trends and remain rooted in significance. As discussions around representation evolve, the question becomes not just who is granted a platform, but under what conditions their work is legitimised. This brings us to a crucial case study.

In collaboration with Slawn and Gabriel Moses, i-D magazine released a special edition issue entitled "Brother's Keeper.' The pair brought together their collaborators to explore the meaning of community in an array of features under the name 'Great Britons.' There was a range of responses. Many were enthralled with Moses’ distinct style but, others were discontent with this Black British representation. The cover saw Slawn, Gabriel Moses, and Clint419 posed in front of the Union Jack with the words ‘Great Britons’ accompanying them.

As Paul Gilroy argues in There Ain’t No Black in the Union Jack, Black British identity is often shaped by exclusion and assimilation rather than self-definition. This image, framed by nationalist symbolism, raises questions about whether it reclaims space or reinforces the very structures that have historically marginalised Black Britons. Furthermore, the cover exemplifies how success within a capitalist framework is frequently mistaken for cultural significance, evidenced by Slawn's presence despite his Nigerian nationality. This further fuels the divide between artists and educated audiences who critique the repackaging of Black Britishness for mainstream appeal.

Blogger and anthropologist @superficialsharon took to TikTok to articulate her commentary on the cover and its broader cultural implications. Sharon’s critique underscores a growing schism between cultural legitimacy and capitalist validation in the representation of Black British identity. As an engaged and educated observer, she articulates a frustration with the way marketing has supplanted genuine cultural narrative. For her, the cover is not an exploration of Black British identity but a commercialised aesthetic masquerading as cultural impact. In the UK our most successful producers wittingly or unwittingly adopt a capitalistic framework that positions individual success as synonymous with cultural significance.

Sharon argues that this lens erodes the very fabric of Black Britishness and it causes me to wonder how authentically our culture is being documented when financial visibility is conflated with historical and social relevance. Furthermore, she argues that the crisis lies in the appropriation of African American iconography. The lack of contextual awareness unfortunately highlights a big problem: a Black British cultural landscape that has yet to define itself independently. Instead, it borrows from existing narratives that are often detached from the lived realities of Black Britishness.

Gabriel Moses' reply to @superficialsharon's Tik Tok

'Don't fall into the trap of being a talker your whole life' really stood out to me. I can only apply meaning here and to me, this implies discussion is secondary to action. I find it hard to agree when the action contrasts black bodies with nationalist imagery which I assume is an attempt to be daring. Reducing Sharon's criticism to bitterness is characteristic of a system that emphasises discussion holding no value in comparison to hard work. Success is framed as the only valid marker of artistic legitimacy. If challenging that is seen as purely negativity or jealousy, what does that mean for the progression and promotion of Black British artistry?

With that I open the conversation to you: ​​What happens to culture when critical voices are ignored, and how can we protect its authenticity in a climate that values validation over thoughtful discussion?

Here's Roni Thomas' exploration of Black British Identity and the title 'Great Britons'