A moving image with an Instagram filter. The image was taken by the writer in Jamaica on their family's land. It is a beautiful landscape with rolling green hills and the ocean on the horizon, a beautiful blue sky with white clouds.

Communing with Dionne Brand’s At the Full and Change of the Moon

By Kamara Dyer Simms

Artwork by Kamara Dyer Simms

Edited by Hannah McGurk

Dionne Brand’s At the Full and Change of the Moon was the focal novel for my undergraduate dissertation on Black futurity, nonlinear temporality, and imagination. While I’m not convinced that diversifying the curriculum within the current academy has enough bearing on any decolonial or anticolonial work that disrupts the academy, I still meditate with how I’ve been gifted by this novel and my accompanying piece of scholarship — how the philosophy ritualistically grounds me as a scholar and creative, how the prose holds me tenderly and with fullness, and how the metaphors guide me to dream futures for myself and my loved ones “with no hope of gratitude or remembrance” (Brand 21-22). Brand’s prose is poetry, and communing with her work continues to move me to imagine beyond what the carceral and linear structures of time dictate.

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The otherness of South Asian Art in British academia

Apoorva Singh

Edited by Ketaki Zodgekar

Chila Kumari Burman was a member of the British Black Arts movement in the 1980s and one of the first South Asian women to make political art in the UK (Buck, 2020). Her work was most recently exhibited by Tate Britain in 2020, where her piece remembering a brave new world, filled with imagery of iconic Hindu deities and South Asian aesthetics, was the gallery’s winter commission. South Asian feminist perspectives on post-colonial Britain are centred in Burman’s work, which spans multiple media, from printmaking and painting, to installation and film. In my exploration of Chila Kumari Burman, I started to wonder: How do we read and understand her artwork? Is it post-colonial, South Asian, feminist or British? How should we define the artwork’s aesthetic and cultural underpinnings?

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AM SESSION: Decolonising the Curriculum – Dr Hannah Marie Robbins

Join us for a discussion with Dr Hannah Marie Robbins on Decolonising the Curriculum at 11:00 AM.

Hannah Marie Robbins (she/they) is an Assistant Professor in Popular Music and Director of Black Studies at the University of Nottingham (UK). She is an expert on the intersections of Blackness, queerness, and gender in American musical theatre. Last summer, her short-form article on diversity and representation in the hit musical Hamilton went viral and has received over 100,000 views. Hannah is an advocate-in-progress for equality in higher education. She is a co-founder of the international network Black in the Arts and Humanities and a member of the radical collective, the Free Black University. 

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AM SESSION: Decolonising the Curriculum

Join us at 11:30 AM for a discussion with Larissa Kennedy.

Larissa Kennedy is the NUS National President. Larissa was formerly Education Officer and Deputy President at Warwick Students’ Union and has worked as Advocacy and Campaigns Officer at Plan International, a global gender equality charity. In a volunteer capacity, Larissa is the UK’s representative to the Global Secretariat at Youth For Change, was formerly a member of the British Youth Council’s trustee board, and U.K. Youth Delegate to the Council of Europe Congress of Local and Regional Authorities.

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A UTOPIAN CURRICULUM

PART FOUR: VOGUING

By Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

As I continue to write this Utopian Curriculum series, it feels important to address questions raised from previous essays. In online conversations and email exchanges around parts two (Black Panther) and three (Sultana’s Dream), a particular point raised was whether something can be truly utopian if it is only positive and ideal for a specific demographic. It is apt, then, to dedicate part four to the art form of voguing.

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A tintype of an African sculpture from the artists home

‘Decolonising the Camera: Photography in Racial Time’: Mark Sealy’s decolonial perspective on photography

By Maya Campbell

Artwork by Maya Campbell

Edited by Ketaki Zodgekar

In comparison to older visual languages such as painting, the relative newness of photography as a creative medium and the vast quantity of images it generates for consumption can be disorientating, especially when we want to evaluate the history of photography. As a tool, the image is highly flexible: historically, images have been digested by the public as a representation of social realities, despite their highly subjective and malleable nature. During my second year studying BA Photography at London College of Communication (UAL), we started to delve into theory surrounding contemporary photographic issues and practices. However, there was a noticeable vacuum in our lectures and recommended reading lists when it came to post-colonial critiques of images depicting the ‘Other’ throughout history. Though fascinating, all of the main thinkers whose theories our curriculum centred were greatly limited, their concepts produced through the prism of whiteness, masculinity and economic agency. 

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A Utopian Curriculum

PART TWO: BLACK PANTHER (2018)

Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

Welcome back to the Utopian Curriculum series with Project Myopia! In this post, I will look at the first case study on the curriculum, the 2018 Marvel film Black Panther. Directed by Ryan Coogler, it has received a renewed level of attention and love since the tragic passing of actor Chadwick Boseman.

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Queer Phenomenology: ‘While Standing in Line for Death’ by CA Conrad

Clara Hancock

Edited by Ketaki Zodgekar

Illustration by Яachel Lee

‘We are time machines of water and flesh patterned for destruction, if we do not release the trauma.’ (CAConrad, 2017) 

CAConrad is a gender non-conforming poet and activist. I first came across their work in the 2018 Beatrice Gibson film I HOPE I’M LOUD WHEN I’M DEAD, which emphasises the necessity of poetry during the current American political crisis. Since discovering Conrad and their ‘(soma)tic’ bodily rituals, my own writing practice has been significantly altered, as I developed a deeper awareness of poetic embodiment. While Standing in Line for Death (Conrad, 2017) consists of 18 (soma)tic rituals, alongside poems that result from them. (Soma)tic poetics is a union of ‘soma’, a spiritual term derived from Sanskrit, meaning ‘to press and be newly born’ and ‘somatic’, the Greek term for the body. Conrad’s (soma)tic poetry investigates the space between body and spirit, and exposes the ways in which corporeality is integral to creativity, grief, expression and survival. ​The writing that emerges from these rituals repeatedly reminds us of the ways in which emotion is both bodily, cognitive, and a meeting point between the world and ourselves (Herd, 2017).

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Basking in the Afterglow: Barry Jenkins’ ‘Moonlight’

Laura Hackshaw

Edited by Veronica Vivi

Artwork by Maia Walcott

Moonlight has been an unprecedented and much needed piece of art which transcends the basic categories and labels that accompany the ideals of it simply being a unique ‘independent’ movie or at its most reductive, a movie about what it is like to be a young, black, gay boy becoming a man. Moonlight is about running through doors with your eyes closed not knowing how to find your way to the other side. It is about the fear, the panic, the discomfort and the frustration of having to come to terms with your own identity when your identity itself is based on societies preconceptions and expectations of who you should be, how you should talk, walk and who you should love – all before understanding how to first love yourself. It is profound because it transforms and challenges common ideologies surrounding black male-hood; black male tenderness and affection, the redemptive power of mentors, music and community and how these all shape the people we become. 

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