Artists Priyanka Dasgupta and Chad Marshall delve into the intertwined narratives of Black and South Asian communities in early to mid-20th century Harlem, specifically around 155th Street. Their research-driven practice sheds light on veiled histories, revealing the stories of South Asian immigrants who, facing racist Asian Exclusion laws, found community and kinship in Harlem, sometimes even identifying as Black. streetsounds.net takes a closer look at their compelling exhibition, “Along 155th Street, Where the Windows Face East,” which masterfully blends historical fact with imaginative storytelling.
This exhibition centers around the fictional character of Bahauddin “Bobby” Alam, a Bengali sailor who transformed into a jazz musician, potentially residing near the museum on 155th street. Dasgupta and Marshall employ “parafiction,” a technique that blurs the lines between history and fiction, to animate Alam’s untold story. Drawing from extensive archival research and their own diverse backgrounds, they construct a narrative that resonates with the lived experiences of marginalized communities in Harlem.
“Along 155th Street, Where the Windows Face East” ingeniously recreates Alam’s 1950s living room within the gallery space, evoking the familiar “period rooms” found in cultural institutions. Intriguingly, the apartment’s dimensions mirror Dasgupta and Marshall’s own home, situated in a historic building just off 155th street, a location once inhabited by luminaries of the Harlem Renaissance. The installation portrays a moment of homecoming for Alam, as if he has just returned from a musical journey spanning from New York to India and his native Bengal. Every detail within this domestic setting is meticulously crafted to reflect Alam’s Indian heritage and his adopted Black identity.
A vintage steamer trunk, adorned with Patachitra, a vibrant Bengali scroll painting style, unfolds Alam’s personal history and travels like a captivating mythological saga. The sofa and chaise lounge, upholstered in damask fabric, feature abstract motifs of the sea and a British steamship, symbolizing Alam’s seafaring past. Adding another layer of authenticity, a vintage radio broadcasts recordings from Alam’s imagined band – songs reminiscent of the WWII-era “Jubilee” radio program, designed to uplift Black soldiers.
Oriented eastward, mirroring the artists’ own apartment’s direction overlooking Jackie Robinson Park, the installation culminates in an immersive video projection. This video artfully merges scenes filmed in the artists’ apartment with footage from the monsoon-drenched ghats of India, creating a powerful visual and auditory dialogue between two distinct worlds. At intervals, Alam appears as a spectral figure in a white suit, gazing out of the window, while the sounds of jazz music in creation fill the room. The exhibition beautifully captures Alam in his home, and the poignant essence of homecoming itself, all within the context of 155th street and its rich, often untold, history.
Curated by Allie Tepper, with special acknowledgements to Damien Davis and numerous contributors, “Along 155th Street, Where the Windows Face East” offers a compelling and imaginative exploration of hidden histories, inviting viewers to contemplate the complex and interwoven stories embedded within the vibrant fabric of Harlem’s 155th street.
