Photographs by Tim Smith that captured the largely unseen British Asian 'daytimers' dance scene in Bradford during the 1990s are now on display at Tate Britain as part of the new exhibition, 'The 90s: Art and Fashion.' The exhibition, curated by former Vogue editor-in-chief Edward Enninful, showcases over 100 works by nearly 70 artists, photographers, and designers, exploring a decade of creativity and rebellion in Britain.
Smith, who lived in Bradford for over four decades, sees the inclusion of his work as recognition that significant cultural shifts in 1990s Britain were occurring beyond London. "I'm pleased because I think there's a big shout-out for Bradford," he stated, emphasizing that these culturally important moments were not confined to major cities like London and Manchester.
Arriving in Bradford in the mid-1980s, Smith, who studied photography, was drawn to documenting lives outside the mainstream. Through the Bradford Heritage Recording Unit, he began photographing the city's South Asian communities in various aspects of their lives. He expressed dismay at the limited documentation of Bradford's Asian communities beyond local newspaper coverage.
The 'daytimers' bhangra gigs emerged later, after a friend introduced him to afternoon club events for young British Asians. These events utilized nightclubs during off-peak hours, offering affordable venues for young people to gather, celebrate, and cultivate a unique subculture. The music fused Punjabi and South Asian traditions with contemporary British sounds. Smith observed that attendees were not just celebrating their Asian identity but were proudly "being British Asian."
Among those photographed was Rani Kaur, known as DJ Radical Sister, a pioneering woman in the scene. One of Smith's prominent images, featured in the Tate exhibition, shows her at the DJ decks surrounded by young clubgoers. Another photograph, taken from above with flash, captures a room full of faces appearing to be enjoying themselves immensely. "Every single face that you can see in it… just looks like he's having the best time of his life," Smith commented.
Smith acknowledged that his photographs also represent the rebellion and the complex navigation faced by young people balancing family and community expectations with their own desires for independence, music, fashion, and friendships. He was mindful that publishing images could inadvertently expose individuals who had not intended their presence at these clubs to become public. Consequently, much of his work remained private, except for images of those comfortable with identification.
Decades later, these photographs have found a new life. An earlier exhibition at Bradford's National Science and Media Museum garnered a mixed reaction, but for those who experienced the scene, it was an opportunity to reclaim their history. "Come on, it was our moment," was a sentiment relayed to him, signifying the scene as a formative period for their current identities.
Smith's images have transitioned from informal documentation of an underground scene to historical records. He believes the 'daytimers' contributed to the foundation of the vibrant British Asian culture that followed. As an outsider, a young white photographer, Smith felt privileged to gain access to and be trusted within communities and spaces whose stories were seldom documented. "I felt quite privileged being a photographer generally because it gives you access to worlds that aren't necessarily part of your world," he said. "I loved being let in."
The exhibition at Tate Britain, which houses the largest collection of British art globally, marks a significant journey for Smith's work, from an unassuming doorway in Bradford to a prominent national art institution. This recognition underscores Bradford's ongoing contribution to cultural history, often overlooked by the broader cultural establishment.