The Southbank Centre announces the first cohort of Black artists to engage on its pioneering development programme, REFRAME: The Residency is supported by Apple with partners Factory International in Manchester, Birmingham City University’s STEAMhouse and Midlands Arts Centre (MAC) in Birmingham. 

The free programme supports Black and Black Mixed Heritage creatives in London, Manchester and Birmingham. (See list of artists below). It will help to address the systemic barriers to career development Black creatives face in the arts and creative industries. 

These 80 emerging artists will present their artwork at a free exhibition, which opens on Tuesday 18 July at the Southbank Centre and runs for several weeks during Planet Summer, a multi-artform season that explores themes of care, hope, connection and activism in response to the climate emergency.

The Residency is led by tutors who are established artists: Riley Bramley-Dymond (writer and director); Holly-Marie Cato (photographer and director); dubmorphology (production and performance group); Caleb Femi (writer, director and photographer); Joshua Inyang (music producer, artist and radio host); Nicole Justice (singer, performer, composer, producer and audio engineer); Tayyib Mahmood (filmmaker); Denise Maxwell (photographer); and Tanya Weekes (photographer). 

The ground-breaking programme is part of Apple’s global Racial Equity and Justice Initiative (REJI) — and represents Apple’s first REJI expansion into Europe. This collaboration aims to inspire future generations to take part in building a cultural legacy for the UK. 

The project aligns with Arts Council England’s Let’s Create Strategy, which strives to build sustainable cultural communities across the country.

For more information on the REFRAME programme click here. 

Edward Enninful is in discussion with Michaela Coel about his memoir A Visible Man  at the Southbank Centre’s Royal Festival Hall on 4 September. Tickets from £35. Southbankcentre.co.uk

By Fadhila Kambona

You and I love Edward Enninful, the award-winning, first black Editor- in-Chief of British Vogue, the European Editorial Director of Condé Nast and proud OBE recipient. Enninful will be in conversation with British actress, screenwriter, director, producer and singer, Michaela Coel as they reflect on the publication of his memoir, ‘A Visible Man’ at the Royal Festival Hall on Sunday 4th September at 7.30pm

Enninful has been a huge game changer, throughout his career in media at the helm of major brands such as i-D Magazine, W Magazine and other high end titles owned by the media giant, Conde Nast. 

He champions diversity and inclusivity. He is forward thinking in his approach, touching on social and topical issues of the day. His more famous front covers include; the footballer and anti child poverty activist Marcus Rashford; frontline workers during the Covid pandemic from the NHS, the railways and supermarkets, and of course the collaboration with Meghan, the Duchess of Sussex on female game changers, which generated huge sales for the magazine.   

Always ahead of the curve, Enninful has the talent and eye to survive the ever changing and cut-throat industry of fashion media. But that’s not why we love Edward Enninful. You and I love Edward Enninful because of his elegant defiance. 

At age 18 he took the world by storm by becoming the youngest fashion editor of an international publication at i–D Magazine. He changed the trajectory of how youth culture was portrayed in the 90s and continued to add his editorial flair and style to Italian and American Vogue and W Magazine.

His highly anticipated memoir ‘A Visible Man’ will shed light on his inspirational journey from a working class, refugee background to the heights of his profession as the first Black, gay Editor-in-Chief of British Vogue.

‘An Evening with Edward Enninful’ promises to be a thought provoking  event with two of Britain’s most influential creatives. Be sure to get first hand viewing and witness the the unveiling of ‘A Visible Man’.

For more information visit: https://www.southbankcentre.co.uk/whats-on/literature-poetry/evening-edward-enninful

By Flora Kambona

The Hayward Gallery’s current exhibition ‘In the Black Fantastic’ (29 June – 18 September 2022) is a triumph for Black expression, Black innovation and Black freedom. As part of the Southbank’s  Grace Jones Meltdown, curator Ekow Eshun produced a space of boundless creativity by dedicating an exhibition for art inspired by the Afro-Futurist movement. 

The gallery showcases the different, and yet equally poignant, interpretations of how Black realities need to change for a better future. Afro-Futurism provides a chance for African mythologies, histories and philosophies to be properly addressed; whilst exploring its hypothetical manifestation in the future. Artists of the diaspora realign themselves with ancestry and ideologies, originally thought to be lost to them,  through the afrofuturism movement.

Each piece in the gallery evokes a different fantasy. A strong visual journey is created in the overall culmination of the mixture of sculptures, installations, paintings, short films and clothing. Due to the expansive topic, each artist’s work follows a different art style and narrative. This level of variety can only be achieved with a diverse group of artists, ranging in interests and experience. 

The opening room is filled with works from established visionary Nick Cave. Introducing the exhibition with a ceiling to floor installation of matte black chained hands. The striking sculpture diagonally cuts the room whilst guiding the viewer to the display of the iconic ‘Sound suits’. Even more magnificent in real life, the soundsuits are explosions of colour made from crochet sequin or gemstones. Considered a ‘wearable sculpture’, this garment is timeless with its rejection of gender and structure and  leaves the wearer completely unrecognisable. Removing the identity off the clothes is meant to symbolise Cave removing the prejudices that came with being a child of the African diaspora or African-American experience. Nick Cave first made the soundsuits as a response to the death of Rodney King. He felt his identity as a Black man could easily be rejected in the wider system of oppression. His livelihood could be trampled on like the stick on the ground. Resulting in Cave collecting debris from the ground and creating his very first sculpture.  

The room directly opposite is dedicated to the works of Sedrick Chisom. Depicting an alternative reality in which people of colour have left the planet. The remaining inhabitants roam the earth ill, disillusioned and directionless. Rich oil paintings fill this room, each displaying images of overgrown and dangerous landscapes. Phantom figures add to the composition of this hybrid of dystopian and utopian worlds. Mainly exploring ideas of race in white America; Chisom’s work should be regarded as a “cautionary tale,” that addresses the climate change reality, not too far off from where we are heading. Lush fuchsia’s lull the viewer into this post-apocalyptic nature take-over. However, the streaks of neon green and red create the misty world and show the discomfort for those left lost, wandering through that world.

Each art piece centres itself on a different story. Just passed Chisom’s work is Tabita Rezaire’s installation. All attention is focused on a huge lone prism in the middle of the all-black room. With a series of recorded short films, poems, dances and literature. The piece feels more like a lesson in rejecting dictated binaries, mindsets and philosophies. Several narrators share their wisdom or past African mythology on topics such as gender and how western rigidness confine free-thinkers from fully expressing themselves. Paired with images of flowers, waterfalls and outer space; Rezaire’s work presents a future in which Black people are allowed to exist as the highest versions of themselves. 

Removing traditional concepts such as masculine and feminine and urging viewers to embrace the intersections of all their emotions, the range of meanings and interpretations is what truly makes this exhibition fantastic. Ekow Eshun sourced pieces that warn, teach and challenge the public to search within themselves for hidden truths and lost connections. It does not promote the idea of Black excellence, excessive wealth and successful business as the only version of a prosperous future. But offers an alternative, more soulful questioning of matters of the heart, body and imagination. Each artist explores how their afrofuture is directly impacted by their past and present through a creative sci-fi adventure for any art lover!

For more about the Southbank Centre, London visit; https://www.southbankcentre.co.uk/whats-on?

Amy Newton (above) is one of the co-founders of this year’s Manchester Tech Festival, which takes place on 17th – 21st October 2022.  Her consultancy, Inclusively Tech, offers workshops and courses to companies of all sizes, from start-ups to senior leaders, focusing on how to get the most out of the vibrant tech community in Manchester. In this brief interview, Amy explains how inclusive and diverse recruitment has always been at the heart of her business and reasons for launching the Manchester Tech Festival.

To unite, enable and empower the tech community of all roles and levels to come together for networking, learning and sharing has always been central to our aims. We’ve been working on the Manchester Tech Festival since Summer 2020 – but we’ve been running Meet-Ups in this space since 2014. We’re expecting between 1500 and 3000 individuals to attend the festival throughout the week.

In your business brief, you talk about a talent acquisition strategy. Without being too technical, what is this?

It’s something that helps tech businesses work out the best route to find the best talent for their business in a difficult market, while ensuring that they are being as inclusive as possible.

In terms of inclusiveness in the industry, how is Manchester faring? How do you ensure that your consultancy is reaching and opening opportunities for the most under-represented communities?

Manchester is faring very well, we have great companies that are doing brilliant things in this space. They are forward looking and very progressive.

We work with communities and give a platform to people with lived experience via the events and meet-ups groups.

Are you able to share some examples of success stories?

We’ve done great work with companies like Moneysupermarket.com, Venturi, Oscar and Barclays Eagle Labs. They have shown a great commitment to diversity and inclusive hiring practices.

What are the highlights for this year’s festival? As a small tech company, what would be the main attractions?

We’ve got some really great businesses backing us, such as cinch, University of Salford, Roku, Booking.com, Moneysupermarket.com, Spike, Self-Care Backpack, BJSS, Oscar, Morson, Venturi, We Do Digital, KrakenFlex.

The festival is for everyone in the region so we are expecting lots of others to attend. As a small company it would be great for professional and personal development as well as having a bit of fun after a very difficult period! 

For more about the Manchester Tech Festival contact: [email protected]

https://www.manchestertechfestival.co.uk/

[email protected]; mobile 07876 899102

CineFAM, a Canadian not-for-profit initiative founded by award-winning filmmaker, Academy Director Member & CaribbeanTales Media Group founder, Frances-Anne Solomon, is excited to launch its newest Database initiative on www.cinefam.ca

The goal is to enhance the visibility of Women of Colour in the film industry: directors, content creators, producers, screenplay writers, actresses, animators, motion designers, etc., in hopes of widening their networks and accessibility to larger resources. The database will consist of an abundance of women of colour filmmakers and creators within the film industry.

Some of the extraordinary women who are a part of the database are Emmy® Award Winning TV Host/Personality Patricia Jaggernauth, Award Winning Filmmaker & Academy Director Member Frances-Anne Solomon, and award-winning writer, and producer Jennifer Holness,

Throughout the month of March you’ll have the opportunity to meet 40+ of the incredible and inspiring creators who have taken advantage of this networking opportunity.

The Content Creator Database is just one of CineFAM’s initiatives that aim to build capacity and viability for women creators of colour in Canada.

For More information contact; [email protected]

See also story on CaribbeanTales Media Group founder, Frances-Anne Solomon

It’s always a challenge to capture the essence of a collection of poems in a short interview. One can never do the great piece of work justice. Nevertheless the publication of Ishaq Imruh Bakari’s latest anthology, entitled ‘The Madman in this House,’ is as thought provoking, touching and elucidating as his previous collections. It is a ‘must read’ for anyone inquisitive about African culture and history. Ishaq Imruh Bakari is a Giant in the field of cinema and literature. He continues to enrich our lives with his contributions. ‘The Madman in this House’ maintains the same tradition of expanding our minds while stimulating the senses. Written in a unique Jazz style, the latest collection of Bakari’s poetry is a definite gift for all seasons.

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Congratulations on the publication of your new collection of poems ‘The Madman in this House.’ This is the fourth in a series of poetry books, covering different aspects of your life, work and philosophy. In the book, you explore the theme, ‘resistance to colonialism’? The first poem is a poignant illustration of the theme. Can you give a background to the poem, ‘Pleased to meet you El Negro.’

Thank you. As part of my wider interest in the return of the plundered African art and artefacts that have been horded in museums and various collections, mainly in Europe and the USA, I came across the story of El Negro. This was in 2016, when the story, ‘The man stuffed and displayed like a wild animal’, appeared in a BBC online magazine. A book, El Negro and me, by a Dutch writer who had become intrigued by the ‘El Negro’ story, had just been published, and was being celebrated. 

As these things go, the corpse that is at the centre of the real story, had been displayed in museums in France and Spain from 1831 until 1997; and was in 2000, reburied in Botswana, as the article stated, ‘In the spirit of Jesus Christ’. The book in a sense seemed to facilitate an occasion to ask the seemingly innocent question of who was, as it was put, this ‘son of Africa’? Hence, the poem emerged as an articulation of my response.   

When the remains of the ‘Negro’ are returned to home soil, would you say this is a  triumph over colonialism? Is this an accurate interpretation of the sentiment captured in the words;

‘And finally, the boxed

Delivery from showroom

Heaven,fuzzy hair is all

That stood the test of time.

Repatriated fittings and fixtures

Fortified in the consecrated

European mind a national

Treasure was prepared to be

Received into African soil

Thankfully with colourful umbrella against the sun.’

There is no intention to suggest ‘triumph’ in the sense of the word. If anything, the intention is irony. El Negro and his circumstances, historical and contemporary, are indicative of the barbarism that African peoples are continually being asked to accept, to excuse, and to get over. This is the sentiment that the whole poem seeks to convey. 

On 24th November 2021, Numbi Arts held a launch event in London to celebrate the publication of your anthology. During the event, you talked about the 3 African images printed at the beginning of the book. Please explain the significance of the images? 

In structuring the collection, and in reflecting on what I had done, it seemed important, at least for myself, to somehow, signify the various levels on which the work was meant to resonate. One way in which I tried to achieve this was firstly, by way of the titles of the sections: ‘New Planet of the Apes’, ‘Desert Storm’, and ‘Warri (Oware) Moves’. This last title refers to the board game of mathematical logic, played across the African world. It is Warri in Antigua, Oware in Ghana, and in Tanzania it is Bao. 

I use some lines from the Nigerian poet Christopher Okigbo as an epigraph to the whole collection. Following this, there are three Adinkra symbols, which are meant to synchronize consecutively with each section of the book. These symbols are firstly, the War Horn (a bull horn) known in Ghana as Akoben, and in Jamaica as the Abeng. This symbolizes in the Adinkra system, vigilance. Then there is the Fern/Aya, the plant, which symbolizes endurance. And, lastly, the Ram’s Horn/Dwennimmen, humility and strength.   

Under the first heading ‘New Planet of the Apes’, you examine the cultural touchstones of our recent history, through the poem, ‘The Grenfell Tower Murderer’ which still evokes harrowing emotions. Can you comment on your thoughts and the lines;

‘Official and unofficial

Suspects left casual  and ballpark

The murderer mingles

In between the margins of profit

Somewhere

     Behind an unapologetic anti-migrant march

Somewhere

     Behind flowers clutched in sacred memory’ 

As far as I am concerned, what now stands as the Grenfell Tower after the tragic and unnecessary fire in 2017, is a crime scene. Enquiries continue, revelations get reported, and as usual, it is all working its way through process and performance towards a cultivated political amnesia and institutional numbness…there is the Steven Lawrence precedent. If there is any outcome to the contrary, we will see…

The other big incident which may cause a cultural shift is the George Floyd incident which ignited the world. Is it possible that the poem, ‘The impossibility of being Black,’ acknowledges that this painful and yet common tragedy faced by Black men and women,  still living under  ‘colonial regimes’ will bring forth change? 

‘On this day,the whatsup instapoly

Graph speaks of another hero born,

In one short breath for Man

A giant leap for misplaced faith

Thank you George Floyd

Unrestful-deadness flows abundantly

From the silence seeping

In the wailing solitude of a sorrow song.’

As you will note, there is an epigraph to this poem: ‘BETWEEN me and the other world there is ever an unasked question/How does it feel to be a problem?’ These lines are taken from The Souls of Black Folk; the first paragraph of the first chapter headed, ‘Of Our Spiritual Strivings’, written by W.E.B. Dubois in 1903. The poem plays upon these lines in the last verse. 

The issue for George Floyd and for all ‘Black men and women’ living under Western tyrannies, is that we cannot solve the psychotic ‘problem’ of the predators that insist on placing their feet on our necks. This is the real tragedy, and in this configuration, part of the impossibility, which the poem seeks to expose. To change that is another matter for the perpetrators to deal with. As the poem insinuates, for Black people, there is a need to realize and actualize the ‘giant leap’ beyond ‘misplaced faith’ that I think the moment has come to symbolize. 

Throughout the second section of verses, you reflect on visits to Gaza and your work as a filmmaker capturing the conflict. ’War in the Time of Terror’ is particularly moving. What more can you tell us about those experiences and the images evoked in the composition below;

When terror comes

Roaming between sidewalks

It takes a cold stare  

With eyes dispossessed

And reflection deferred

Between the headlines and graffiti

The concealed fears and fantasy

Beware the comfort offered

By ranting lords and majesties

It is interesting that there is an impression that I have visited Gaza. This is not so. I have never been there. However, the situation of the Palestinian people has been one of my concerns for decades. For me, in one way, it symbolizes the need to perpetually resist victimhood in the struggle for justice. This has provided an important reference point for my own approach to life as an African Caribbean. Let us not forget that the Jewish narrative has informed certain influential threads of Pan-Africanist thought, in the nineteenth and twentieth century. 

In terms of the idea of ‘return’, as the first wave of diaspora Africans, do we return to occupy a privileged, oppressive, apartheid space; or do we return for mutual development and equitable change? The lines that you have quoted simply suggest that those who sow terror, will reap terror, and ‘we’ should not get caught up in the tricks of this politics. My position underlines my empathy with the Palestinian people, and it is gratifying to think that the poems communicate on a deep level. 

Finally, in the last section ‘Ware(Oware) Moves,’ the theme is more celebratory. Reflections on African literature and your love of jazz are prominent themes in the mix of poems. Referencing again the launch event, when you said you ‘write in dialogue’, using ‘jazz phrasing and tones,’ please elaborate for our readers.

Yes, I did say that my writing is a dialogue. In the sense that it is so in relation to anyone who takes the time to read or listen to the poems. Strange as it may seem, I also said that as a way of explaining my work to myself, I find it necessary to approach the use of English as a foreign language. This is where, what I refer to as Jazz, its forms, its ‘phrasing and tones’, have helped me to find a path towards a way of writing poetry, through which I can find my mode of expression and aesthetic. The journey continues…  

The jazz influences can indeed be visualised in the way you phrase and present the poems. But would you say that your style of ‘jazz’ poetry is best appreciated when spoken out loud? Take for instance the last poem and ode to the Jamaican jazz-musician Coleridge Goode?

‘Bad bass lines stomp

lightly taking time

To tell the tales

That will keep agile

Warriors awake

In free formed landscapes

Unfurled and on fire

Upright you stand

Destiny in hand

Stepping stones

Have built new freedoms

With calypso sketches

Simmering in the symmetry

Of deep majestic tones.’

In the way that I understand the question, all poetry is ‘spoken word’, contrary to the much repeated cliché, which is a little bit of a nonsense really. However, on my part, speaking, reading, reciting the poem all amounts to the same thing. How this happens and under what circumstances, would vary. I always hear music when I read my poems, and I am always somewhere in or with an ensemble of some kind.  

‘The Madman in this House’ is published by Smokestack books. 

For more information visit; www.smokestack-books.co.uk

See also Travels with the Author – Imruh Bakari;

https://diversitybusinesspromotes.uk/without-passport-apology-review/

Watch the book launch: The Madman In This House – 24 November 2021;

https://fb.watch/9wwff5JFbI/

Ayo Sokale is a leading figure in civil engineering, sustainability, and equality. Ayo shows an unwavering commitment to social change and has a wealth of accolades to her name, including being named, the Diversity & Inclusion Speakers Agency’s Top 15 Diversity and Inclusion Speakers in 2021. 

In this special interview for Black History Month, Ayo reveals the role diversity plays in corporate success and her experience in a male-dominated industry.

What drives you?

I’m really driven by the need to have a life that matters and make a difference in the world. 

We all impact the world, be it through our carbon footprint or how kind we are to our neighbours. I was always looking for the most effective way to live my life, to have the most positive impact. That has been a driving factor since day one. 

I chose my career in civil engineering at the age of nine because I knew it was going to be an amazing tool to make a positive impact in the world. Everything I do, from politics to community activism, is grounded in the foundation of how I can add most value? How can I make the world a better place?

As a Civil Engineer, what was it like breaking into a male-dominated industry? What is your advice to others wanting to do the same? 

I’m a civil engineer. I work in what many see as a male dominated industry. However, that’s changing. A good engineer doesn’t have to be male or female, a particular sex or gender or social construct. All you need is the curiosity to solve problems. And boy, do we have some problems!

From climate change, flooding to huge social issues, civil engineers help make a difference. This industry needs bright, challenging minds who are here to solve problems. 

I think things are changing with the rise in huge, high profile civil engineers. For example, the current President of the Institution of Civil Engineers is female. I think people are recognising that leadership talent isn’t limited to one gender. 

With this realisation, people are allowed to bring their authentic selves and unique perspectives to work. Civil engineers have to solve so many problems, so the more diverse minds we have, the better.

As a young leader, why is it important to have diverse leadership? 

In my industry, I fully acknowledge the need for diversity in leadership. It’s so crucial and the world is starting to recognise this. 

We are starting to acknowledge that having different perspectives, being empathetic and approaching leadership with different styles  can have huge benefits. It also allows you to engage with communities more effectively. Our communities look so different than they did before, we live in a  global melting pot. And therefore leadership should also reflect that diverse melting pot. 

It means you better understand the issues that are important to diverse groups of people. You can actually lead in a way that really serves all the people that live in our communities today.

What are the negative effects of lack of diversity in a corporate team? 

The negative effects can be huge. They can cost big. It can lead to cultural blindness, a lack of awareness of key dates that are important to certain communities, their faith practices or even how to engage in diverse communities appropriately.

For example, corporate branding totally missing the mark. Do we all recall the [Pepsi] advert with Kendall Jenner? It caused huge ramifications and pushback in certain communities because they felt unrepresented and not understood.

In this corporate world, when we’re trying to reach global communities, we have to understand them and diversity in our corporate team helps achieve this.

If you could give yourself one piece of advice at the start of your career, what would it be?

Number one, to ask all the questions! Don’t worry about what people think. Everyone wants you to learn, no one is going to judge you. It may seem embarrassing, and you may want to stop, but just keep asking questions. 

The second piece of advice would be to enjoy the journey. We all focus on goals and they are are important. However, we spend more time on the journey than we do achieving these pivotal moments, when we get qualifications, pass exams or get promotions. 

They are very, very short moments in our lives, so try and enjoy the journey and do things you love!

Ayo Sokale is a motivational speaker, for more information contact; [email protected]; https://champions-speakers.co.uk/

Thank you Ashleigh for agreeing to take part in an interview for Diversity Business Magazine. Please elaborate on the aims of Black Tech Fest?

Black Tech Fest was created with the objective to celebrate culture inclusively through the lens of technology. We had the objective to bring new voices to keynote speaking opportunities to highlight the amazing work from Black people in the technology industry and to give brands the opportunity to tell society and communities what they were doing when it comes to diversity, equality, belonging and inclusion.

Since launching the festival in 2020, what have been the highlights for you? What did you learn about managing a festival?

First of all was the amazing experience of last year and really this was because we were creating authentic places to have conversations that just didn’t have a platform in existence in previous years. We spoke about a number of different things that impacted the community, from cryptocurrency, product inclusion allyship to a range of topics which impact our everyday experience of technology. 

TIkTok’s EMEA, Head of Business Marketing told an amazingly personal story at the festival about why his experiences of discrimination led him to bring inclusive design into all of his marketing campaigns and work which is a must watch at https://www.blacktechfest.com/

What was the response from participants? Did you get customers from all over the world?

For us Black Tech fest wasn’t just a necessary business generation idea. We wanted to make sure many of the participants and attendees who were curious about the content, had an amazing time. Fortunately our partners also enjoyed their experience and we are fortunate to have a number of great brands joining us again in 2021 such as Salesforce who are committing to participate and again for future editions. That is a real testament ultimately to the quality of experience that both of our partners had. Ultimately the main thing for us is that we have interesting and dynamic conversations around the topics that actually matter. We firmly believe that by doing this the audience will value what we do and spread the word worldwide.

2020 could be viewed as a pivotal year, not just because of COVID 19 and the disproportionate impact on Black communities, but because of the reaction worldwide to the George Floyd killing. Has the reaction and global outcry made any differences to the way the tech industry operates in the UK?

Our latest research suggests that there is a lot more to be done. When we surveyed members of the community we found that 38% of them actually believe that most of the gestures that organisations undertook in response to the events that affect the Black community in 2020 were tokenistic. This tells us that there is still a way to go in terms of progress in this space. 

I think broadly 80% of respondents thought that the startup ecosystem was no different in terms of inclusion, in the last year. I don’t think we can let organisations pat themselves on the back because they have put a post on social media or because they have told us they are going to do more. We actually need to realise those gestures in action. Asking people in the industry what they think, will be the true barometer to ascertain if there are meaningful differences. One positive thing, we note, is that we have observed more conversations around race.  However, there is a lot more to be done in terms of making that turn into substantive action, otherwise it is just all talk and no action and this could be more damaging.

How is Black Tech Fest making a difference with regards to representation and inclusion in tech businesses?

Black Tech Fest exists to provide a platform to highlight amazing Black people in the tech industry and use that as an opportunity to provide more role models for folks who don’t necessarily see people like them in leadership, innovating, or working in the tech industry. Through providing a platform to celebrate Black technologists we hope to open up a conversation about how we can create more pathways for more people from diverse backgrounds to get into industry. Our partners are also committed to that mission and have created opportunities. One of the initiatives of our partners is TikTok for example, they fast track graduates through their recruitment process if they attend Black Tech Fest. Facebook also provides a number of recruiters with whom candidates can talk to live in session in real-time to connect with further opportunities and ask particular questions about their circumstances.

Congratulations on becoming a Forbes under 30 award winner for the work you do in the nonprofit sector. Please share your achievements in this area?

Haha! I’m far too humble for that. In reality accolades are great, but the reason we exist is to give others opportunities and it’s truly a team effort. ~40% of eBays UK graduate hires came through Colorintech Programs, (which I am also the Co-founder of) and our alumni have landed roles at organisations such as Google and Facebook too. We are incredibly proud of our work and are excited to work with new partners such as Microsoft, Sky and Farfetch to create more opportunities. (Colorintech is the UK’s leading non-profit focused on diversity and inclusion in technology backed by Google, Microsoft, Facebook, Atomico, eBay).

What are you planning for the next Black Tech Fest in 2021? What changes will you be incorporating particularly in light of your findings within the tech sector?

Black Tech Fest 2021 will be about creating more provocative and interesting conversations. Fundamentally, we want to provide a platform for discussions exploring the role between Black businesses and the narrative of charity. How do we make fintech inclusive for all, as well as being joined by a number of brands talking to us about what they’re doing in this space. Not shying away from having those conversations about whether their efforts go far enough. 

Interestingly, one of the key things I’m excited for this year is, going back to nostalgia and talking about the first publication to go viral. We are going to watch how leaders have navigated throughout the last 12-months in the light of everything that has happened. 

For the Black community we’re going to ask brands about how they are making sure that their products are pushing forward and not building biased systems. Finally as another hint we’re going to look back on the venture capital space and explore, after a year of introspection whether any more money moved to Black founders. We’ll be announcing the first wave of content for BlackTechFest from 6th July, so watch this space, and follow us here https://twitter.com/BlackTechFest.

In celebration of International Women’s Day on 8th March 2021, Diversity Business pays tribute to a new collection of women’s poetry from Black Sunflowers Poetry Press. Published on 14th February 2021, the collection rejoices in the voices of women from around the world. Morgan Christie is one of the authors.  In the interview below, she discusses her poem when they come and other works.

The intro to the new series of poems from Black Sunflowers Poetry Press begins with a call for poets from publishers Geffen Bankir and Amanda Holiday. The note reads;

‘from across the globe, poets answered. The cries of being and feeling were strange, funny, primal, otherworldly, and angry. Poems raged and fluttered, moaned, and muttered, soared and stumbled. From all the speakings, this voice was heard. Enjoy.’ (Geffen Bankir and Amanda Holiday)

Congratulations, Morgan on the publication of your poem, when they come. On first impression it fits the description of ‘otherworldly, as described in the publishers’ intro. It seems part mythical and fantastic with depictions of pterodactyls regaining life and taking over the skies. Part futuristic with references to other beings coming to save the planet after the humans have destroyed every living thing? Part historical with mentions of a people brutalised by slavery and the aftermath of an atomic bomb in Osaka. It almost defies a classification or genre.

How would you describe the poem?

It really is a sci-fi epic. when they come is a long narrative poem dealing with surrealist slants and ‘great’ beings other than ourselves. The piece was intended to mirror the transfixed state of the theme and plot, a sort of frozen acceptance, all brought about by our own actions and histories.   

An interpretation of the poem is that it is a modern fable about how history repeats itself when it comes to humankind’s capacity to self-destruct, mistreat one another and misuse the earth’s natural beauty. Would this be a plausible interpretation?

Definitely, but I’m not sure I ever visualized the piece as a fable, as that would require a defined, tangible moral. This collection doesn’t have one, there are lessons in hindsight of course, but no singularly highlighted moral. In some ways, the collection acts as a reimagined reality, and in other ways as you so eloquently pointed out, it acts as a historical evaluation of our distinctively showcased nature, and our treatment of one another as well as the world around us. In every way, it is a tragedy, an invasion involved tragedy paralleling our shortcomings, triumphs, and demise in a satirical, sometimes comedic, sort of way. 

Please tell me about Black Sunflowers Poetry Press. Is it a collective? Were you part of the crowd funding process? How did you get involved in the project?

Black Sunflowers is the UK’s first crowdfunded poetry press, and I’m thrilled to be a part of the family. I learned of the press while seeking possible homes for my most recent chapbook and greatly enjoyed their write up and initiative. I knew I had to submit! I also had the opportunity to work very closely with Amanda Holiday (founder) throughout the editorial process, she was a wonder and great supporter of the work and vision for it. 

Black Sunflowers Poetry shines a light on contributions from  ‘women, especially older women and black poets.’ Were you already aware of the other women’s work in the series? Was there opportunity for interaction amongst the writers? Which other work(s) in the series have touched you?

I actually haven’t gotten my hands on my own copies, it’s still so fresh. So I haven’t had an opportunity to interact with the other poets yet, but will very soon. March 14th is the virtual launch/reading for the authors of Black Sunflowers – I’m so looking forward to sharing and hearing everyone’s work. Please join us!

You have won many accolades for your writing including the 2017 Alexander Posey Chapbook Prize and the 2018 Likely Fiction Chapbook Contest. What were the publications that contributed to these awards?

Variations on a Lobster’s Tale and When Dog Speaks. The first, a collection bound by familial ties, caribbean roots, colonialism, and evaluations on race and disability, the second, a sharp and intentional lens into the realities of grief and forgiveness, without giving too much away. Sterling, another poetry chapbook, was out around the same time. Most recently my first full-length short story collection These Bodies was published, that’s been a great ride as well. 

You have achieved literary excellence with the publication of many works of prose, fiction and poetry. You have also gained a Master of Studies in Creative Writing from the University of Oxford. Who were the authors who inspired you as a child? Who are the authors who continue to inspire you today?

The list is long, but I continue to find inspiration in writers that quiet my thoughts and focus my process: Brooks, Dawes, Cisneros, Kingston, Alexie, and so many more. 

Did you write the poem when they come before or during the lockdown period? How did  lockdown challenge or enhance the creative process?

when they come was completed well before last year. I didn’t find that lockdown changed my process much at all. We were still so connected, in some ways more so, which propelled constant material and other writing necessities to keep the juices and creativity flowing. 

What creatively will you take away from the whole pandemic phenomenon? 

A similar perspective that I try to take away from all things; continue to fuel your craft at all cost. Life will throw some heavy and oddly shaped wrenches at you, 2020 seemed modelled after that reality, but in continuing to support and grow your passions one continues to grow and support themselves, and that’s one thing we always need to keep doing. 

What are you working on now? Will there be another collection of Black Sunflowers Poetry?

Maybe one day, but not in the near future! I’ve been focusing on my prose a bit more and reestablishing a space for my long form fiction, and hopefully essays as well. I’m, of course, always working on that ever elusive novel, but I hope to be finished with it in the near future. Thank you so much for this opportunity. It’s been great diving into the craft!

For more information about Black Sunflowers Poetry Press contact: [email protected]

 https://www.blacksunflowerspoetry.com/

Promoting excellence in black businesses is now needed more than ever. In a year when being Black and male attracted heightened attention, after the death of George Floyd made global headlines and sparked a sense of solidarity within Black communities. The outrage was also triggered by the ill treatment of Black people in China in April 2020 during breakout of Covid -19 in Guangzhou, China.  Many African countries hit back by chasing the Chinese out of their own countries and boycotting their goods.

Some might say this has been a blessing in disguise as statues and memorabilia connecting Black people to slavery were pulled down during the Black Lives Matter demonstrations such as in Bristol in June 2020.  Protesters removed the statue of the slave trader, Edward Colston after years of petitioning their local council. In response, Sadiq Khan, the London Mayor announced a review  of all statues which glorify men who profited from slavery.  The Black Curriculum,  a social enterprise founded in 2019 by young people wanting to address the lack of Black British history in the UK curriculum, worked with many schools to raise awareness of the subject.

Many from the UK establishment disagreed with the changes of renaming streets and replacing statues of slave masters with those of Black people who have contributed to British society. It confirms the notion that the Black History Month event, celebrating the people who have shaped history, should no longer be restricted to one month.

It has therefore become more important to honour our own heroes. Even the likes of Netflix have embraced the trend by airing the Mobo Awards on its platform in 2020. Award ceremonies such as the Gab Awards (Gathering of Africa’s Best) which celebrates Africa’s finest throughout the diaspora took the difficult decision to go ahead and hold its prestigious event online in the same year.

 Amongst the winners were Lieutenant Patrick Passley LVO (pictured above), achieving the Life Time Achievement Award for services to the community and Alexandre Moussinga for his event, the African Village Festival, which seeks to bring together the community and promote cultural unity.

For more information contact: [email protected]