Imruh Bakari

Imruh Bakari

N/A

Most Known for...

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Blood Ah Go Run 1982

Short 'newsfilm' looking back at the events of 1981, beginning with the killing of 13 young blacks in New Cross, London. The film goes on to show the anger this aroused among black people, and their march in demonstration - `The Black People's Day of Action'. Also covers the Brixton riots.
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Britain on Film: Black Britain 2017

Featuring footage spanning from 1901 to 1985, this little-seen footage has been found from all across the UK. This programme allows an exploration into stories of migration, community and also the struggle against inequality, while also providing the opportunity to celebrate black British culture and life on screen. Films in the programme include: Miners Leaving Pendlebury Colliery (1901), Hull Fair (1902), For the Wounded (1915), From Trinidad to Serve the Empire (1916), Hello! West Indies (1943), Mining Review 2nd Year No. 11 (1949), To the Four Corners (1957), Black Special Constable (1964), Black Police Officers (1966), Cold Railway Workers (1964), Nigerian Wedding in Cornwall (1964), Coloured School Leavers (1965), London Line No. 373 (1971), African Student Families (1975), Liverpool 8 (1972), Blood Ah Go Run (1982), The Jah People (1981) and Grove Carnival (1981)
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Mark of the Hand 1987

Guyanese painter Aubrey Williams (1926-1990) returns to his homeland on a “journey to the source of his inspiration” in this vivid Arts Council documentary, filmed towards the end of his life. The title comes from the indigenous Arawak word ‘timehri’ - the mark of the hand of man - which Williams equates to art itself. Timehri was also then the name of the international airport at Georgetown, Guyana's capital, where Williams stops off to restore an earlier mural. The film offers a rare insight into life beyond Georgetown, what Williams calls “the real Guyana.” Before moving to England in 1952 he had been sent to work on a sugar plantation in the jungle; this is his first chance to revisit the region and the Warao Indians - formative influences on his work - in four decades. Challenging the ill-treatment of indigenous Guyanese, Williams explored the potential of art to change attitudes. By venturing beyond his British studio, this film puts his work into vibrant context.