Lisa Williams grew up in Dorset in a British-Grenadian family and moved to Grenada to run cultural/educational exchanges for twenty years. After relocating to Edinburgh in 2011, she founded the Edinburgh Caribbean Association and curates a range of arts events across Scotland to promote Caribbean culture. She runs educational and anti-racist programmes in schools and universities and leads walking tours focusing on Edinburgh’s Black History.
Join us at 15:00 PM for a discussion with UncoverED on Liberating the Classroom.
UncoverEd is an archival project nominally located at the University of Edinburgh. Guided by the biographies of alumnae/i of colour, the project aims to situate the global image of the institution within its imperial matrix.
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).