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zotos79469 April 18, 2023 Comment

If you’re a person of colour, remotely creative and/or working in the arts, you probably have a memory like this. You’ll be looking around a room – it could be a gallery opening or a book reading or a private view – and you’ll suddenly realise yours is the only face in the room. The only face that isn’t white, that is.

Here’s my story. I was 20; I’d sneaked into the afterparty for some university theatre group, grabbed a free glass of wine and cast my eyes around for anybody that I might know. Nobody. What I did see was a sea of white faces, laughing at this or that backstage in-joke and downing house white. The gratis booze turned sour in my mouth.

Why did it bug me so much? Why did it matter? I probably had a few friends in that crowd. But there was something about the whole scene that made me feel alone in a room of a hundred people: the yellow girl in the corner, turning redder by the second. I slunk off.

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In February, the Warwick Commission released a damning report that stated that the creative arts have become whiter and more middle class over the last two years. It’s no coincidence that the same period has seen the poisonous growth of anti-immigration rhetoric and xenophobia, from both right and left-wing political parties.

People of colour (POC) rarely see ourselves reflected in British media; when we do, it’s usually because one of us has done something wrong and we are immediately called on to apologise for their behaviour. We’ve become a cipher for someone else’s anxieties and insecurities, or a quota to be massaged, fact-checked and disputed into oblivion.

But a new wave of POC artists and creatives is challenging that narrative. Between them, they publish zines, curate shows and create platforms for people to come together, not apart. They show that British artistic identity is more than ‘Keep Calm and Carry On’ tea towels and cocktails at Frieze. I’ve gathered five of the most exciting ones below for a frank convo on the diversity in the arts and carving out their own space in the “bougie art world”.

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The Lonely Londoners are Rianna Jade Parker, Kareem Reid and Pelin Keskin. Based in London, Toronto and New York, the collective of artists-curators organise multi-disciplinary shows and events.

Motherlands is Rayanne Bushell and Halina Kaszycka-Williams. The zine showcases the work of POC creatives, particularly diaspora artists born or based in Britain negotiating the margins, their identities and the nature and notion of ‘home’.

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Variant Space is Nasreen Raja and Nasreen Shaikh Jamal Al Lail. The two met on Instagram and first developed the collective as an online archive and platform for female Muslim artists.

OOMK is Rose Nordin, Sofia Niazi and Heiba Lamara. The biannual publication began when Nordin and Niazi began talking to Sabbah Khan at a zine fair about making a zine that was relevant to Muslim women engaged in activism and the arts.

Diaspora Drama is Isaac Kariuki, Eileen Roman and Amal Hassan. The zine celebrates creative POCs with overarching themes of the internet and technology.

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The Lonely Londoners: If not now, when? We understood the urgency and radical potential of our ideas from the very first meeting in the kitchen. We each had our personal areas of concern that intersected, sizeable followings on social media and a vested interest in the arts so starting a collective was a natural progression based on the interactions and conversations we had been having for years. We found the people we wanted to work with.

Motherlands (Halina): I come from a History of Art background that perpetuated an overwhelmingly gendered vision and Western rhetoric that just stank of exoticism. I got really bored of these old ideas in these dusty old books and definitely felt a sense of urgency – it’s time for a shift and for us take this into our own hands. But there’s a meme circling the net at the moment that says ‘You’re not deep, you’re not an intellectual, you’re not a critic, you’re not a poet,

Which I thought was incredibly dangerous. We exist outside of the canon and occupy another space. And whilst we are still constantly being told that certain formats are devoid of authenticity, we aim to break down these barriers but aren’t seeking validation.

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Variant Space: The media has almost always had a damaging impact on the portrayal of Muslim women. Contemporary imagination and dialogue conceptualizes Muslim women as weak, disregarded, affronted and chained. With Variant Space, we want to show the complete opposite of this picture and elevate the dialogue from a vantage of choice and freedom. We want to display the realities of Muslim females (through art) – reclaimed – as they are, while opening channels for interactive experience with the public. Essentially, it is an assertion of creative agency.

Is a demonstration of and reflection of identity being complex and fluid and allowing this to be so. Mainstream media and culture is so rigid in its limitations and categorisations that it lacks any room for growth or the expression of difference without making it ‘other’. As a collective, it’s hard to separate how each of our identities feeds into our work. As a publication we hope it gives people the opportunity to express theirs on their own terms.

The Lonely Londoners: Collectively we’re the children of West Indian, Middle Eastern, African, Asian and Latino immigrants living in the global north, that already is a great place to start. Being very deliberate in the documentation of our lives and art helps us to make better sense of ourselves and how we navigate the world and all of its systems. We’re rooted in our identities but in no way are we restricted by it.

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Variant Space: The collective includes Muslim women from divergent cultural backgrounds, although the religious context is the same (Islam). On a personal level, it would be very hard for us to box our identity into a singular description. Nonetheless, our works of art are highly influenced by social forms taken from the different cultural spaces that we have inhabited. This feeds into our work and how we display the variety of realities through photography, fine art, textiles, mixed media, installation, sculpture, drawing and painting. We would define our identity in purely general terms of our relationship with our artistic production within the parameter of our shared heritage.

Diaspora Drama: Amal and Isaac are African and Lulu is Afro-Dominican. Even beyond that some of us are poor, some of us are queer, some of us have disabilities and all these identities intersect during decision making. Isaac and Lulu at one point were debating on the relevance of adding a love poem into the first issue but even relationships as people of colour can be political and we have to remind ourselves that everyone experiences things through all their identities.

Have said, fluid and complex. For me, it seems like a natural starting point as a subject of creativity. My own personal journey – as someone living in Britain of mixed Jamaican and Polish heritage is so multi-layered. I’ve always been asking questions about the hybridity of historical and cultural experiences and I think extending this dialogue with Rayanne and the wider world through

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OOMK: Starting a collective was largely inspired by the lack of role models or existing space to feel welcome. Not to say we don’t have role models. In terms of prominent magazines and zine culture we were inspired by everything

Achieved as a magazine, Girls Get Busy collective, and artists like Miranda July and riot grrrl culture. Many of our role models are in fact family, friends or peers. We have real love and admiration for The Lonely Londoners as a collective and the writings of Kareem Reid and Rianna Jade Parker, and more recently the talent and graft of filmmaker Cecile Emeke. They’re so far ahead they just might have been sent back from the future. We’re constantly trying to dig past institutional erasure to find people who speak to us on a level – often individuals are connected to movements wider than themselves. The history of the New Beacon Books in Finsbury Park and the publishing mission and international network of its founder Trinidadian activist and poet John La Rose has had an enduring influence. One of our friends, Hudda Khaireh, introduced us to the

Motherlands: The art and activism of Maud Sulter and Lubaina Himid, particularly the book Passion and the Making Histories Visible Archive respectively have influenced the work, though we’d agree with OOMK in that the zine was inspired by a lack of an existing space and it’s our peers that we meet and/or become aware of through the work who have been most inspiring, not to mention supportive.