Jersey Museum consists of stories and items that relates to how life was in the past for jersey with mostly expressing how the people themselves made Jersey how it is to this day. Whether these people are locals or immigrants, all took part in the growth in Jersey. In fact, if it wasn’t for the immigrants coming over to Jersey for work, Jerseys economic funds wouldn’t be as wealthy as it would be to this day. Religious/ political refugees, economic migrants that arrived to support new industries such as oyster fishing, ship building, construction and agricultural workers, or tourism all made Jersey to be a financially stable island.

mood-board of exhibit

Here are some images of Jersey museum. We as a group of photographers explored and learned many new and interesting facts of the people and families that have lived or are still living in Jersey. These stories written on the walls, in books and expressed as images and items really emphasise how far Jersey has came with immigrants and locals having or choosing to live in Jersey in the passed and present.

The exhibition states;

‘Every Jersey resident has an immigration story – whether their family came here 500 years or five years ago. This exhibition explores some of these stories and the ways in which immigration has shaped and influenced the Island we know today.’

-Research

16th and 17th Century – Religious Refugees

The French Wars of Religion took place during the 16th century between Catholic and Protestant (Huguenots). Many Huguenots fled France to Protestant Countries. So many Hugenots fled to Jersey at this time that an extra market day was put in place and was introduced.

The Edict of Nantes in 1598 granted the Huguenots the right to practice their religion without persecution from the State. This was revoked in 1685 and a large number of Protestants left France over the next two decades with several thousand finding new homes in Jersey. They left without money, but took with them many skills, establishing small businesses in the Island.

These so called “immigrants” brought not only benefits to themselves with starting life again, but benefits to the island. hundreds and thousands of people that fled from France were employed to farming ect.

In these last few lessons as a class we created a small tapestry made of the materials being different fabrics that relates to an artist we found and chose in an art gallery book. This artist we chose had a passion for feminists and women rights in the topic of sexuality and events that women go through during the stages of life.

The Bayeux tapestry was made to celebrate William I’s conquering of England in the Battle of Hastings in 1066.

There is no known precise date for when the Bayeux Tapestry was created but the academic consensus is that it must have been produced very soon after the events it depicts. This means that it is a key primary source for students of the Conquest period.

The tapestry contains a considerable amount of information not only about the political events surrounding the Conquest story, but also about other aspects of military, social and cultural history. Historians of clothing have gleaned much about Anglo- tapestry and Anglo-Norman garment styles and fashions from the depictions shown in the tapestry, while academics interested in early medieval ship-building, sailing and carpentry have likewise learnt much from the sections dealing with the construction and voyage of William’s invasion fleet.

What’s important to note is that as a source of information on the political events to the Conquest period, the tapestry actually offers very limited definitive evidence. The Latin inscriptions that run above the pictorial narrative are terse and limited in number. This ambiguity means we do not know, for instance, what Edward the Confessor and Harold are discussing in the first scene of the story. Nothing is said other than ‘King Edward’ above the frame, so we are entirely in the dark about the meeting and must infer from other sources as to what the designers are trying to tell us. That is a problem that persists throughout the tapestry, where we are constantly invited to infer what is happening from the pictures, rather than being told what is happening with words.

All information was taken from:

https://www.historyextra.com/period/norman/5-bayeux-tapestry-facts-what-is-it-why-was-it-made-and-what-story-does-it-tell/

Kara Walker

Kara Elizabeth Walker is an American contemporary painter, silhouettist, print-maker, installation artist, filmmaker, and professor who explores race, gender, sexuality, violence, and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes.

Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery. She has also produced works in watercolour, video animation, shadow puppets, “magic-lantern” projections, as well as large-scale sculptural installations like her ambitious public exhibition with creative time called “A Subtlety” (2014). The black and white silhouettes confront the realities of history, while also using the stereotypes from the era of slavery to relate to persistent modern-day concerns. Her exploration of American racism can be applied to other countries and cultures regarding relations between race and gender, and reminds us of the power of art to defy conventions.

This piece of work is very powerful. It shows the reality of life that many black people had to go through during the 19th Century, whilst slavery was going on throughout the world but especially in America.

The black silhouette represents the lynching that occurred between the 1830s and only ended because of the civil rights movement in the 1950s/60s. The fact that she chose to use the colour black has many connotations .

The colour black not only represents black people, but can also represent being cold. This could be representing the harsh conditions that the black slaves had to work and live in throughout the year, year by year. Being cold could also represent the loss of a life. When you touch a corpse, it is cold to the touch. Many people would have seen bodies hung around the streets because of the horrible lynchings that took place throughout the 130+ year period.

The colour black also represents darkness. Just like the darkness of the nights that people had to work through. But also the darkness that clouded over people’s mind to think that treating people in such a horrific way was okay.

History of Lynching in America | NAACP

Inspiration: Defying gender normalities.

For this NFT we have decided we want to highlight the fact that people are expected to look a certain way based on their gender/sexuality.

We decided that we were going to make a film but also include images that I will have taken by the time we shoot the film. We also decided that we are going to add the images in between the scenes. This would be seen as a glimpse into what was going through our model’s head, but also foreshadows what will happen by the end of our film.

Celebrities that have already done this:

Recently the red carpet is often the place for celebrities to make a statement. For example Billy Porter turned up to the 2019 MET Gala in a large gown with the torso of a tuxedo and the bottom half had a black velvet ballgown silhouette.

He gave an interview to Vogue saying:

“This industry masquerades itself as inclusive, but actors are afraid to play, because if they show up as something outside of the status quo, they might be received as feminine, and, as a result, they won’t get that masculine job, that superhero job. And that’s the truth. I’ve been confronted with that.”

https://www.vogue.com/article/billy-porter-oscars-red-carpet-gown-christian-siriano

Why Women Can Dress Like Men But Not Vice Versa

More celebrities defying gender norms:

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A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualising a motion picture, animation, motion graphic or interactive media sequence

We are going to film fashion through all the different decades. Our chosen decades are – 70s, 80s, 90s, 2000’s and 2020’s. We will do this by using one of our female friends to model for us. She will walk across two set points in the studio and film each decade in the exact same way. After all these clips are filmed we will put them all together and each second will cut into a different decade, with the finishing video being her walking across and her outfit changing several times representing the different decades.

scene 1 – the first thing we will film will involve a 70s based outfit, our model will walk across two points.

scene 2- then we will film our second scene which involves an 80s based outfit

scene 3- model walking across wearing a 90s based outfits

scene 4- model walking across wearing a 2000’s based outfit

scene 5- model walking across wearing a 2020’s based outfit

then we stop shooting, after we have filmed all of our clips we will merge them together to make sure the scenes change and cut through all the different decades.

a small storyboard plan of our outfit inspiration;

we will mark two points in the studio, in front of a large white backdrop, the model will work vertically towards the camera to make the outfit the most visible. We will have to take 5 videos of the model, each video with a different outfit from one of the 5 decades. Once we have those clips we will cut them into small second videos on a software so that the decades are swapping a the model is walking.