Cassie Quarless is a filmmaker was a 2020 Eccles Centre Visiting Fellow at the British Library.

As a documentary director, a large part of my job is mining my mind and my experiences for subjects that I am excited about and that I want to share with others. One such subject is the connection and exchange that exists between the music and musical cultures of the Caribbean, United States, United Kingdom and West Africa. During my time at the British Library I sought to research this further.

I was really struck by the British Library's collection and its wealth of Black British music, which spans a wide range of genres and styles, from early blues and jazz to contemporary grime and hip hop. The collection holds a wealth of resources for researchers, including sheet music, recordings, and concert programmes, as well as a range of scholarly publications and academic works on the subject.

This photograph shows vocalist Marie Bryant and bassist Red Callender at a recording session, for the 1944 short film Jammin’ the Blues. Copyright: Gjon Mili/The LIFE Picture Collection/Getty Images. This image is featured as part of the British Library's Windrush Stories.

One of the main issues that I had at the British Library - coming from the film/moving image space and having had a background as a DJ - was that I really wanted to be able to riffle through the Library’s collections like one would in a friend’s home or in a record store. After having spoken to and met with various incredibly knowledgeable members of the British Library staff, I ultimately got the hang of the different systems that the Library uses to catalogue its extensive collections and was able to navigate them in a more natural way.

One particular non-recorded music gem for me was the unpublished collection of correspondences by Andrew Salkey, a Caribbean-born writer and publisher who played a crucial role in promoting Black art and literature in Britain during the 1960s and 70s. These letters offer a unique perspective on the experiences and thoughts of one of the leading figures in the Black arts movement, and provide valuable insights into the cultural, political, and artistic context of the time.

I was particularly struck by Andrew Salkey’s correspondences with the Jamaican poet and academic Kamau Braithwaite and what they suggested about the expressed sharing of knowledge and thoughts about art (whether they be visual, literary or musical). Much of the correspondence that I read was dated from the mid-60s and onward into the 70s.

This photograph, entitled The Lime, captures Samuel Selvon, John La Rose and Andrew Salkey. The Trinidadian term ‘lime’ or ‘liming’ has a similar meaning to ‘hanging out’, and involves socialising without time constraints. The photo was taken by Horace Ové in 1974 and is featured in the British Library's Windrush Stories.

Both sides of my family are from the Caribbean (Grenada to be precise) and I was always regaled with stories of family ties and friendships that were lost through migration to the United Kingdom, other Caribbean islands or to Latin America. It had basically become a foregone conclusion for me that within the context of the Caribbean and its diaspora, the distance of the sea meant the death or at least serious atrophy of social connections during the 60s and 70s. When it came to music, it was felt that records from the Caribbean came to these shores with much of their context and intellectual intention removed - after all, only the most successful acts actually got to travel to the UK to perform and to spread their messages.

What Salkey’s correspondence with Braithwaite underscored was how much conversation was happening between interested parties across the Atlantic. People were not only exchanging art critique but also referring to their cross-nationally intermingled lives and social connections.

I am sad that my time as an Eccles Fellow at the British Library will end before the launch of its landmark exhibition centred on Black British music presented in collaboration with the University of Westminster. I was, however, definitely impressed by the British Library's collection and the breadth of materials that it contained. The collection not only documents the music itself, but also the broader cultural and social context in which it was created. This includes a range of materials that shed light on the experiences of Black musicians in Britain, including recordings of live performances, interviews with musicians and industry professionals, and articles and essays on the subject.

Notting Hill Carnival 1979, Sound System on Portobello Road under the Westway. August 1979. Photo by Adrian Boot. This image is featured in the British Library's Windrush Stories.

As a filmmaker and as a fan of music, my time at the British Library has definitely given me some new and valuable insights, but more importantly it has gotten me thinking even more deeply about the connections that I was looking to elucidate. I will be back here often as my project progresses.