 Stephen B. Whatley - 24 June 2015 - British Library Ten years ago - 24 June 2015 - I received the first contribution to the John Blanke Project from Stephen B. Whatley at the British Library, his contribution went on to become the inspiration for the Project - Artists and Historian Reimagine the Black Tudor trumpeter. On - 5 April -2025 - 10 years on meet Stephen at the same place for him to sign a limited edition publication of his contribution - they'll be made available for sale.  Stephen B. Whatley - 8 April 2025 - British Library
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 So pleased to have the very first signatures in my personal copy of the book! I met the wonderful Andrea Montgomery and her husband, the guitarist and singer, song writer Anthony Toner, at the National Portrait Gallery—along with the NPG's 16thC curator Dr. Charlotte Bolland, a great supporter of the Project (see John Blanke in NPG permeant collection) . They will I hope be the first of all the artists, historians and supporters who will sign my copy of the Book..   Association of Cultural Enterprises Awards 2025 |
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Witten by ChatGPT
Directed by Paterson Joseph |
Ignatius Sancho Paterson Joseph
John Blanke Michael Ohajuru |
Scene: A cozy 18th-century London tavern, the air filled with the soft hum of conversation and the clinking of mugs. The fire crackles warmly in the hearth as two remarkable figures meet for a lively discussion.
Ignatius Sancho : (grinning) Master Blanke, tis a delight to make thy acquaintance. I've heard wondrous tales of thy trumpeting at the royal courts. Pray, how didst thou find favour with the king?
John Blanke: (chuckling) Good Master Sancho, the pleasure is indeed mine. Playing for King Henry hath its rewards, though the monarch’s temper is like the weather in London—changeable and often stormy. But tell me, Ignatius, I have heard rumours that thou hast recently voted in an election. Is it true? A black man casting a vote?
Ignatius Sancho: (smiling) Aye, John, it is true indeed! I had the honour of casting my vote in the recent election. Tis a right I hold dear.
John Blanke: (astonished) Truly? In my day, I could not fathom such a thing. If I had any grievance or request, I would have to petition the king directly. Voting was beyond imagination.
Ignatius Sancho: (nodding) Times have changed, my friend. Though it is not without its challenges. The right to vote was hard-won and not without resistance. But it is a sign of progress, however slow.
John Blanke: (laughing) I remember once petitioning King Henry for a raise in my stipend. I thought it a bold move, but I had no other recourse. Thankfully, the king was in a good mood that day. He granted my request, though not without a jest.
Ignatius Sancho: (curious) Oh? What did His Majesty say?
John Blanke: (grinning) He said, “John, thy trumpet may be loud, but thy courage is louder still. Very well, thy stipend is raised—but pray, do not play louder in gratitude!”
Ignatius Sancho: (laughing) A fine jest indeed! It seems kings and jesters are often cut from the same cloth. But tell me, John, how didst thou find the courage to petition the king directly?
John Blanke: (thoughtful) Necessity, I suppose. When one has no other means, one must be bold. Besides, I always believed that if my music could move the hearts of men, perhaps my words could too. But this voting business, it intrigues me. How didst thou come by this right?
Ignatius Sancho: (smiling) It was through persistence and the support of good friends. I was fortunate to have patrons who valued my contributions. They helped me gain the property qualification needed to vote. It is not a perfect system, but it is a start.
John Blanke: (raising his mug) To progress, then! May it continue to move forward, however slowly.
Ignatius Sancho: (clinking mugs) To progress, and to the courage of those who dare to dream of a better world. Cheers, John!
The two musicians share a hearty laugh, their conversation a testament to the enduring power of perseverance and the slow but steady march of progress....
John Blanke: (chuckling) Good Master Sancho, the pleasure is indeed mine. Playing for King Henry hath its rewards, though the monarch’s temper is like the weather in London—changeable and often stormy. But tell me, Ignatius, I have heard rumours that thou hast recently voted in an election. Is it true? A black man casting a vote?
Ignatius Sancho: (smiling) Aye, John, it is true indeed! I had the honour of casting my vote in the recent election. Tis a right I hold dear.
John Blanke: (astonished) Truly? In my day, I could not fathom such a thing. If I had any grievance or request, I would have to petition the king directly. Voting was beyond imagination.
Ignatius Sancho: (nodding) Times have changed, my friend. Though it is not without its challenges. The right to vote was hard-won and not without resistance. But it is a sign of progress, however slow.
John Blanke: (laughing) I remember once petitioning King Henry for a raise in my stipend. I thought it a bold move, but I had no other recourse. Thankfully, the king was in a good mood that day. He granted my request, though not without a jest.
Ignatius Sancho: (curious) Oh? What did His Majesty say?
John Blanke: (grinning) He said, “John, thy trumpet may be loud, but thy courage is louder still. Very well, thy stipend is raised—but pray, do not play louder in gratitude!”
Ignatius Sancho: (laughing) A fine jest indeed! It seems kings and jesters are often cut from the same cloth. But tell me, John, how didst thou find the courage to petition the king directly?
John Blanke: (thoughtful) Necessity, I suppose. When one has no other means, one must be bold. Besides, I always believed that if my music could move the hearts of men, perhaps my words could too. But this voting business, it intrigues me. How didst thou come by this right?
Ignatius Sancho: (smiling) It was through persistence and the support of good friends. I was fortunate to have patrons who valued my contributions. They helped me gain the property qualification needed to vote. It is not a perfect system, but it is a start.
John Blanke: (raising his mug) To progress, then! May it continue to move forward, however slowly.
Ignatius Sancho: (clinking mugs) To progress, and to the courage of those who dare to dream of a better world. Cheers, John!
The two musicians share a hearty laugh, their conversation a testament to the enduring power of perseverance and the slow but steady march of progress....
Costumes
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Paterson Joseph's Ignatius Sancho costume is styled on the 1768 portrait by Thomas Gainsburgh of Ignatius Sancho
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Michael Ohajuru's John Blanke costume is based on the 1512 wedding present to John Blanke reimagined by Ninya Mikhaila from Tudor court records
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Reviews from the audience on the night
via Chat GPT
via Chat GPT
Shaft:
Two brothers keepin’ it real, talkin’ truth to power with style. This play’s got soul. Right on! |
1920s Gangster:
These guys got guts, talkin’ about hustle and makin’ moves. I'd share a drink with 'em any day. |
Louis XIV:
A delightful exchange, though quite revolutionary! Voting and progress—how intriguing, but perhaps too bold for my court. |
| see_tickets_-_john_blanke__the_black_musician_at_the_tudor_court_tickets_|_tuesday_04_jun_2024_at_7.pdf |
John Blanke: The Black Musician at the Tudor Court, took place 4th June in British Library's Piazza Pavilion. It was part of the library’s Beyond the Bassline : 500 years of Black British history exhibition (26 April–26 August 2024) .
The very first John Blanke Live! symposia event took place at British Library on November 3rd, 2017. The first featured historians, visual artists and poets this one featured musicians : Nigerian composer and multi-instrumentalist Olá Akindipe , and Lance Sargeant Lawrence Narhkom member of the Band of the Grenadier Guards.
Dr Mykael Riley a co-curator of the exhibition opened the event. I gave a brief introduction to John Blanke and the John Blanke which was followed by a discussion between me and Dr Misha Ewen on who John Blanke was and what his presence at Tudor court signified and what his image means to us today.
Dr Mykael Riley a co-curator of the exhibition opened the event. I gave a brief introduction to John Blanke and the John Blanke which was followed by a discussion between me and Dr Misha Ewen on who John Blanke was and what his presence at Tudor court signified and what his image means to us today.
Following Misha and I Olá played on the clarinet his arrangement of the melody from John Blanke Anthem followed by a high life piece on the bass clarinet as an example of the music that would have been played to leaders and elites like Henry VIII in Nigeria.
Lawrence on trumpet improvised on a jazz tune, seamlessly blending it with military band marches and the traditional slow and quick marches of the Household Division tunes that he will be playing as one of 400 musicians who will be taking part on 15th June in The King’s Birthday Parade (Trooping the Colour) . John Blanke would have played in similar events for Henry VII and Henry VIII making 500 years of Black British music manifest.
The evening closed with Lawrence playing the Last Post
Feedback from the evening by email included ‘beautiful and moving’, ‘incredible to hear Ola and Lawrence’ and ‘unforgettable evening.’
John Blanke is part of the Beyond the Bassline exhibition the installation is described in a previous blog post.
Feedback from the evening by email included ‘beautiful and moving’, ‘incredible to hear Ola and Lawrence’ and ‘unforgettable evening.’
John Blanke is part of the Beyond the Bassline exhibition the installation is described in a previous blog post.
Last Thursday – 24th April 2024 - I was delighted to attend the opening on the British Library’s latest Exhibition Beyond the Bassline: 500 years of Black British Music (26 April–26 August 2024) . For the past few months I’d been a member of the Exhibition’s advisory board as well as contributing a work from the John Blanke collection (Stephen B. Whatley’s Tribute to John Blanke) and written a chapter on John Blanke for the exhibition’s catalogue.
It was a chance to see the exhibition and John Blanke’s part in it but also to meet several old friends as well as the curators Dr Aleema Gray and Dr Mykaell Riley in person , having only met them via Zoom for the past months. And also to wear my back in the day double breasted, wide shoulder pink silk suit straight out of 1970s Hawaii Five-0 as the double breasted suit is now back in fashion after 50 years as seen in H&M April 2024!
It was a chance to see the exhibition and John Blanke’s part in it but also to meet several old friends as well as the curators Dr Aleema Gray and Dr Mykaell Riley in person , having only met them via Zoom for the past months. And also to wear my back in the day double breasted, wide shoulder pink silk suit straight out of 1970s Hawaii Five-0 as the double breasted suit is now back in fashion after 50 years as seen in H&M April 2024!
The John Blanke installation is at the very start of the exhibition which follows the time line of Black British from sixteenth century to the present day with a glimpse of the future.
The installation aka display is in a line of four for early Black musicians: John Blanke (fl 1495 to 1512) the Black Tudor trumpeter to the court of Henry VIII and Henry VIII; Ignatius Sancho (c1729 to 1780) shopkeeper, man of letters and composer; Billy Waters (c1728 to 1823) the street entertainer; George Bridgetower (1778-1860) the child prodigy and virtuoso violinist.
The John Blanke display is beautifully simple and effective. The low lighting with spotlights highlighting the display’s three works: one visual, his portrait by Stephen B. Whaley; the other two texts , one from the National Archive’s collection – his petition to Henry VIII for wage increase and the other from British Library’s own collection – the accounts of Andrew Windsor, the keeper of the Great Wardrobe details the payments made to the suppliers of the materials, and to the tailor for making Henry VIII’s wedding gift to John Blanke.
The installation aka display is in a line of four for early Black musicians: John Blanke (fl 1495 to 1512) the Black Tudor trumpeter to the court of Henry VIII and Henry VIII; Ignatius Sancho (c1729 to 1780) shopkeeper, man of letters and composer; Billy Waters (c1728 to 1823) the street entertainer; George Bridgetower (1778-1860) the child prodigy and virtuoso violinist.
The John Blanke display is beautifully simple and effective. The low lighting with spotlights highlighting the display’s three works: one visual, his portrait by Stephen B. Whaley; the other two texts , one from the National Archive’s collection – his petition to Henry VIII for wage increase and the other from British Library’s own collection – the accounts of Andrew Windsor, the keeper of the Great Wardrobe details the payments made to the suppliers of the materials, and to the tailor for making Henry VIII’s wedding gift to John Blanke.
The low lighting with the dark drapes and the mounted picture in its black picture frame and mounting and the documents in glass climate controlled cabinets collectively create the effect of a shrine to John Blanke. A beautiful presentation of John Blanke and the Project with is strapline – Imagine the Black Tudor Trumpeter made real. I was particularly impressed with the mounting of Stephen’s work which I’d discussed with the loan team – the A4 black and white image on paper float mounted on a black background in a black A3 frame – just perfect !
I spent most of the evening in front of the ‘shrine' as folk kept asking me and wanting know more about John Blanke. I was eventually left with literally minutes to see the rest of this exhibition. Needless to say no time at all to see the many wonderful things to see and hear and recalling so many memories as I rushed through Beyond the Bassline’s sounds and images to the exit driven by the attendants at the evening was rapidly drawing to a close ! I have to go back to really take it in. The John Blanke ‘shrine’ is wonderful and worth visit on its own – I would say that wouldn’t!
If you love music you’ll love this visual and sonic journey thru time – from the Tudors to cyberspace…..
I spent most of the evening in front of the ‘shrine' as folk kept asking me and wanting know more about John Blanke. I was eventually left with literally minutes to see the rest of this exhibition. Needless to say no time at all to see the many wonderful things to see and hear and recalling so many memories as I rushed through Beyond the Bassline’s sounds and images to the exit driven by the attendants at the evening was rapidly drawing to a close ! I have to go back to really take it in. The John Blanke ‘shrine’ is wonderful and worth visit on its own – I would say that wouldn’t!
If you love music you’ll love this visual and sonic journey thru time – from the Tudors to cyberspace…..
I'm thrilled to share some fantastic news with you about our crowdfunding journey for The John Blanke Project Book. As we mark the quarter-way point of our campaign, your incredible support has propelled us halfway to our funding goal! This achievement is a testament to the enthusiasm and generosity of each and every one of you, and I cannot thank you enough for your contributions.
I'm also excited to announce that our project has received endorsements from two leading history professors and a leading actor and author a tremendous vote of confidence in the importance and impact of The John Blanke Project.
David Olusoga Professor of Public History at the University of Manchester
The John Blanke Project redefines historical exploration by merging practical scholarship with innovation and critical imagination. Anchored in social justice, it reveals the overlooked narratives of Black Tudor England, enriching our grasp of diversity and British identity. By blending art and history, it encourages a deeper, empathetic engagement with our shared past, advocating for a more inclusive and equitable understanding of history.
Corinne Fowler Professor of Colonialism and Heritage
The John Blanke Project brilliantly illuminates the overlooked chapters of Black Tudor England, blending rigorous scholarship with creative vision. Its profound commitment to uncovering the full spectrum of our heritage challenges us to embrace a more diverse and inclusive narrative of British history. A landmark in historical exploration, this project transforms our understanding and appreciation of the past.
Paterson Joseph, British Actor and Author, Chancellor of Oxford Brookes University
The John Blanke Project, much like my exploration into Ignatius Sancho's life, offers a transformative lens on British history, spotlighting the pivotal yet frequently overlooked roles of Black Britons in our shared heritage. Both endeavors challenge us to broaden our historical narratives, weaving the contributions of these remarkable individuals into the fabric of our national identity. This project stands shoulder to shoulder with my work on Sancho, each amplifying the other, as we strive to paint a more inclusive and comprehensive portrait of our past."
I thank you, Paterson, Corrine and David for your support in helping to #MakeHistory and the Book of the John Blanke Project happen....and do please keep spreading the word #LetsMakeHistory!
I'm also excited to announce that our project has received endorsements from two leading history professors and a leading actor and author a tremendous vote of confidence in the importance and impact of The John Blanke Project.
David Olusoga Professor of Public History at the University of Manchester
The John Blanke Project redefines historical exploration by merging practical scholarship with innovation and critical imagination. Anchored in social justice, it reveals the overlooked narratives of Black Tudor England, enriching our grasp of diversity and British identity. By blending art and history, it encourages a deeper, empathetic engagement with our shared past, advocating for a more inclusive and equitable understanding of history.
Corinne Fowler Professor of Colonialism and Heritage
The John Blanke Project brilliantly illuminates the overlooked chapters of Black Tudor England, blending rigorous scholarship with creative vision. Its profound commitment to uncovering the full spectrum of our heritage challenges us to embrace a more diverse and inclusive narrative of British history. A landmark in historical exploration, this project transforms our understanding and appreciation of the past.
Paterson Joseph, British Actor and Author, Chancellor of Oxford Brookes University
The John Blanke Project, much like my exploration into Ignatius Sancho's life, offers a transformative lens on British history, spotlighting the pivotal yet frequently overlooked roles of Black Britons in our shared heritage. Both endeavors challenge us to broaden our historical narratives, weaving the contributions of these remarkable individuals into the fabric of our national identity. This project stands shoulder to shoulder with my work on Sancho, each amplifying the other, as we strive to paint a more inclusive and comprehensive portrait of our past."
I thank you, Paterson, Corrine and David for your support in helping to #MakeHistory and the Book of the John Blanke Project happen....and do please keep spreading the word #LetsMakeHistory!
The John Blanke Project website is a remarkable digital platform that offers a rich and engaging exploration of historical narratives, particularly focusing on the life and experiences of John Blanke, an African trumpeter who lived in the Tudor court of England during the early 16th century. Here's an analysis of its content:
1. Historical Significance: The website places a spotlight on a relatively lesser-known historical figure, John Blanke, and sheds light on the presence of black individuals in Tudor England. This focus on underrepresented history adds depth and diversity to the understanding of this period.
2. Multimedia Integration: The website effectively utilizes multimedia elements, such as images, videos, and interactive timelines, to provide a comprehensive and visually appealing narrative. These elements make history come alive for visitors, enhancing their engagement and understanding.
3. Educational Resource: The John Blanke Project website serves as a valuable educational resource, with detailed information about Blanke's life, his role in the Tudor court, and the broader historical context. It also offers downloadable educational materials, making it useful for teachers and students.
4. Accessibility: The inclusion of accessible features, like alt text for images and a clean layout, ensures that the content is available to a wide audience, including those with disabilities.
5. Contemporary Relevance: The website connects historical narratives to contemporary issues of race, identity, and representation. It encourages visitors to reflect on the relevance of John Blanke's story in today's world.
6. Collaboration and Engagement: The inclusion of community contributions and opportunities for users to share their own stories or artwork related to John Blanke fosters a sense of community and participation.
In summary, The John Blanke Project website effectively combines historical research, multimedia storytelling, and educational resources to bring the often-overlooked history of John Blanke and the presence of black individuals in Tudor England to a broader audience. Its commitment to inclusivity, education, and contemporary relevance makes it a valuable online resource for history enthusiasts, students, and anyone interested in diverse historical perspectives.ere to edit.
1. Historical Significance: The website places a spotlight on a relatively lesser-known historical figure, John Blanke, and sheds light on the presence of black individuals in Tudor England. This focus on underrepresented history adds depth and diversity to the understanding of this period.
2. Multimedia Integration: The website effectively utilizes multimedia elements, such as images, videos, and interactive timelines, to provide a comprehensive and visually appealing narrative. These elements make history come alive for visitors, enhancing their engagement and understanding.
3. Educational Resource: The John Blanke Project website serves as a valuable educational resource, with detailed information about Blanke's life, his role in the Tudor court, and the broader historical context. It also offers downloadable educational materials, making it useful for teachers and students.
4. Accessibility: The inclusion of accessible features, like alt text for images and a clean layout, ensures that the content is available to a wide audience, including those with disabilities.
5. Contemporary Relevance: The website connects historical narratives to contemporary issues of race, identity, and representation. It encourages visitors to reflect on the relevance of John Blanke's story in today's world.
6. Collaboration and Engagement: The inclusion of community contributions and opportunities for users to share their own stories or artwork related to John Blanke fosters a sense of community and participation.
In summary, The John Blanke Project website effectively combines historical research, multimedia storytelling, and educational resources to bring the often-overlooked history of John Blanke and the presence of black individuals in Tudor England to a broader audience. Its commitment to inclusivity, education, and contemporary relevance makes it a valuable online resource for history enthusiasts, students, and anyone interested in diverse historical perspectives.ere to edit.
.The John Blanke Project is an art and archive initiative celebrating the life and legacy of John Blanke, a Black Tudor trumpeter who served at the courts of Henry VII and Henry VIII. This project, led by Michael Ohajuru, aims to bring attention to Blanke's unique place in history as the only Black Tudor with an identifiable image. It started in 2015 and involves various artists and historians who reimagine Blanke's story based on his depictions in the Westminster Tournament Roll and historical accounts from the Tudor court. The project also includes educational and public engagement components, such as exhibitions and online resources, to highlight the broader history of Black presence in Renaissance Europe. The significance of John Blanke in British history is further underscored by various commemorations, including a blue plaque in Greenwich, London, and his inclusion in the list of 100 Great Black Britons.
Sources
【20https://www.johnblanke.com】【21https://en.wikipedia.org/wiki/John_Blanke】【22https://www.npg.org.uk/collections/research/john-blanke-and-the-westminster-tournament-roll】.
Sources
【20https://www.johnblanke.com】【21https://en.wikipedia.org/wiki/John_Blanke】【22https://www.npg.org.uk/collections/research/john-blanke-and-the-westminster-tournament-roll】.
Sadly couldn't generate an image to represent the Project kept saying... It seems I'm still encountering technical issues in generating an image. For visual representations that capture the essence of the John Blanke Project, I recommend exploring the project's official website or related online resources. These platforms often showcase artwork and historical interpretations related to John Blanke and his significance in Tudor England.
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