Glenn Jordan
Welcome to the publication, “Representations.” This is a project designed to bring the perspectives of a wider variety of groups to the forefront of the anthropology classroom. To celebrate Black History Month, we are covering the accomplishments of 28 Black anthropologists across 28 days. Learn more about our project; read on for the amazing accomplishments of Glenn Jordan.
An anthropologist, photographer, and curator — Glenn Jordan has dedicated his life to documenting and sharing the stories of people and their cultures. His incredible career has led him on a quest to champion the underdog and advocate for an appreciation for diversity.
Born in Sacramento, California in 1952, Jordan grew up during the height of the civil rights movement and became politically involved as early as 14 years old (Haf 2012). He studied at Stanford University for his Bachelor’s and Master’s degrees and he completed his Ph.D. in Anthropology in Cultural Studies at the University of Illinois (“Glenn Jordan” n.d.). In 1987, Jordan moved to the United Kingdom where he taught at the University of South Wales for over 25 years, including courses on cultural policies, cultural studies, and photography (ibid).
The focus of Jordan’s research, ethnographies, and exhibitions is representation; “Behind everything I do, all my photography is all about identity and representation and culture, multiculturalism” (Haf 2012). Through exposure and education he aspires to challenge ignorance. Jordan uses his photography to enhance and bring life to his ethnographic work (ibid). Many of his exhibitions particularly look at the life and history of minorities present in Ireland and Wales, using his visual art to tell their stories such as in Somali Elders: Portraits from Wales (2004), On an Island without Sun: Coping Strategies of Sikhs in Ireland (2011), and his 2015 collaboration with Andrew McNeill, Under the Bridge: Being Homeless in Cardiff (“Glenn Jordan” n.d.; Haf 2012). His article An African Presence in Europe (2008) describes the Somali Elders Project and the thought behind it, labeling it as a “located intervention” and “an exercise in anti-racist education” (Jordan 2008). He aims to improve understanding between people and create a more united community- one that does not discriminate against those of different backgrounds (Haf 2012). Jordan is renowned for his sensitive and caring nature which allows him to connect easily with those he photographs, often resulting in a willingness from people to be vulnerable and tell difficult stories.
As an active member of the Association of Black Anthropologists (ABA), Jordan was editor of the association’s newsletter from 1981 to 1985, while also serving as treasurer (Harrison 1987). Here he notably instituted the ABA’s Occasional Paper series, thus expanding ABA’s publishing range and provided an opportunity for further valuable literature on racism, colonialism, and African Americans in anthropology, among others (ibid). His dedication and stability within the organization would later lead him to become vice president (ibid).
Jordan has also curated several exhibitions across Ireland and Wales (Jordan n.d.). The same year Jordan arrived in the UK, he and the community founded the Butetown History & Arts Centre in Cardiff as a project dedicated to history and education (ibid). The centre aims to educate on the history and cultures of minorities and immigrants within the city and Wales in general through events, exhibitions, and books (ibid). The goal is to fight prejudice by highlighting the vibrant diversity of the area and campaigning compassion and appreciation for others (ibid).
Jordan has written several books and articles on culture, race, and African American history. Cultural Politics (1995), co-authored with Chris Weedon, focuses on power and reflects on the ways in which the constructs of class, gender, and race are upheld and perpetuated — “Social inequality is legitimated through culture” — or even how these social divisions may be challenged by a culture. In Re-membering the African-American Past (2011), Jordan describes the art and history of the Harlem Renaissance as well as the “New Negro” that emerged during this time through in-depth analysis of the works of Langston Hughes and Aaron Douglas (Jordan 2011).
Through dedication to education, whether as a professor, in the curation of exhibitions, or in publishing works committed to multiculturalism and the study of power, Jordan has no doubt contributed greatly to the advocacy for Black anthropologists and other under-represented groups. Jordan’s recent works and the lasting effects of the organizations and institutions he has been a part of demonstrate a continuous impact on the world and undoubtedly will inspire and teach countless more.
Bibliography
“Glenn Jordan.” Academia, n.d, cardiff.academia.edu/GlennJordan.
Haf, Nia, and Glenn Jordan. “In Conversation with Glenn Jordan.” Nia Haf, 2012, nia-haf.co.uk/for-part-of-our/.
Harrison, Ira E. “The Association of Black Anthropologists: A Brief History.” Anthropology Today, vol. 3, no. 1, 1987, pp. 17–21.
Jordan, Glenn. “An African Presence in Europe.” Cultural Studies, vol. 22, no. 2, 2008, pp. 328–353., doi:10.1080/09502380701789232.
Jordan, Glenn. “Dr Glenn Jordan, Butetown History & Arts Centre.” GOT Project, n.d., got.uk.net/index.php/news-events/launch-programme/128-dr-glenn-jordan-butetown-history-arts-centre.
Jordan, Glenn. “Re-Membering the African-American Past.” Cultural Studies, vol. 25, no. 6, 2011, pp. 848–891., doi:10.1080/09502386.2011.605269.
Jordan, Glenn, and Chris Weedon. Cultural Politics: Class, Gender, Race And The Postmodern World. Wiley-Blackwell, 1995.
Photo from: Nia Haf
