Language, Power, and the Global Majority.

In Britain and around the world, people are rethinking the words we use to describe identity. Terms like “ethnic minority” or BAME (Black, Asian and Minority Ethnic) have long been used to label Black and brown communities. But today these terms are being challenged and a new phrase, “Global Majority,” is gaining ground.

Coined by Black British educator Rosemary Campbell-Stephens MBE, “Global Majority” flips the script on old labels. It’s about decolonising language and reclaiming power through words.

Origins of the Term Global Majority.

The term global majority was introduced to acknowledge a simple but powerful fact: collectively, people of African, Asian, Middle Eastern, Latin American, Indigenous and mixed heritage represent the vast majority of humanity. In fact, roughly 85% of the world’s population comes from these backgrounds.

This concept of Global Majority was brought to prominence by Rosemary Campbell-Stephens in the early 2000s. As part of a London education initiative, she began using “Global Majority” in 2003 to help reframe how we see leadership and diversity.

Campbell-Stephens wanted those who had been minoritised by society to realize their numerical and cultural strength. By adopting this term, she aimed to empower Black and brown communities with a mindset of belonging and confidence on a global scale.

Rejecting “Minority” and “BAME” Labels.

Why move away from terms like “minority” or BAME? For one, these old labels carry a negative weight. Being called an “ethnic minority” in a predominantly white country can make people feel less important or outside of the norm. It frames white people as the standard and everyone else as “other”. Using a blanket acronym like BAME has also proven unsatisfactory – it lumps diverse groups into one vague category.

Many individuals feel that BAME is not representative of their identity or experiences. It’s a catch-all that hides real differences. Crucially, such terminology hints at a white/non-white divide and keeps whiteness as the implied default standard

As Campbell-Stephens wrote, continuing to use acronyms like BAME “limits the capacity to have honest, authentic, non-coded conversations about race and racism”.

In other words, these labels can cloud the discussion and even create a “limiting mindset” for those who are labelled minorities. People can internalise the idea of being minor or marginal when in truth their communities are globally prevalent and vibrant.

Change is underway. In 2020, Rosemary Campbell-Stephens penned a think piece arguing that we must decolonise the language around race. She vowed to keep using the “demographically accurate and empowering” term Global Majority until everyone else caught up. And indeed, others have begun to catch up.

In November 2022, Westminster City Council in London officially announced it would stop using “BAME” and instead adopt “Global Majority” in its communications. This was a landmark move by a local government to be more inclusive, and it echoed the call that Campbell-Stephens made nearly two decades earlier. It shows that what starts as a radical idea can eventually become new common sense.

Decolonising Language, Changing Perspectives.

The push to use global majority is part of a broader effort to decolonise language. Decolonising language means actively challenging old terms imposed by colonial histories and replacing them with words that centre the perspective of Black and Indigenous peoples and other communities of colour. It recognises that language is deeply connected to power. When we change the words, we change the narrative. For people who have long been labelled minorities, adopting the term global majority can be a profoundly liberating shift.

Language and Power.

Words shape our reality. They influence who holds power and who feels visible or invisible. Referring to Black and brown communities as the global majority is an intentional act of empowerment.

It tells young people from these communities that they are inheritors of the world, not just a footnote in it. Rosemary Campbell-Stephens’s work illustrates the impact of this change. By reframing language in education and leadership, she has helped dispel the myth of minority inferiority and replace it with a narrative of majority strength. In the end, embracing the term global majority is about more than political correctness – it’s about power and pride.

It’s about recognising that the people once called “minorities” are in fact the majority of the globe, with rich histories and contributions. Decolonising language in this way helps to break down the old hierarchies that language upheld. It allows for more honest conversations about race, racism, and equity, and it invites everyone to see the world from a truly global perspective.

In summary, language is power.

The words we choose can either reinforce old colonial ideas or help dismantle them. By rejecting terms that diminish and embracing terms that empower, we change the story. The rise of “global majority” shows how a radical Black perspective on language can spark a wider change in mindset. When people start calling themselves (and each other) the global majority, they reclaim dignity and strength. They also send a message: we will define ourselves, rather than be defined by a legacy of colonisation. This shift in language – from minority to majority, from othered to empowered – is a small revolution of words that can lead to a bigger revolution in how we understand identity, power, and belonging. As Rosemary Campbell-Stephens and others have taught us, changing our language can indeed change how we see ourselves and the world around us.

Further Reading.

For those who want to explore more, here are some key resources:

  • Rosemary Campbell-Stephens – Educational Leadership and the Global Majority: Decolonising Narratives (2021): The foundational book on the concept, showing how Global Majority thinking can transform leadership and education.
  • Rosemary Campbell-Stephens – “Global Majority: Decolonising the language and reframing the conversation about Race” (2020): A powerful think piece on why we must reject terms like BAME.
  • Ngũgĩ wa Thiong’o – Decolonising the Mind (1986): A classic on how language was used as a weapon of empire, and why reclaiming our words is key to decolonisation.
  • Gurminder Bhambra, Dalia Gebrial & Kerem Nişancıoğlu (eds.) – Decolonising the University (2018): Essays on transforming education in the heart of empire.
  • Bell hooks – Teaching to Transgress (1994): A radical vision of teaching as a practice of freedom, centring marginalised voices.
  • Kehinde Andrews – Back to Black (2018): A retelling of Black radicalism that speaks directly to our time.
  • Paul Gilroy – There Ain’t No Black in the Union Jack (1987): A groundbreaking study of race, nation and culture in Britain.
  • Reni Eddo-Lodge – Why I’m No Longer Talking to White People About Race (2017): An accessible, essential book on the realities of racism in Britain.
  • Akala – Natives: Race and Class in the Ruins of Empire (2018): A sharp blend of history and lived experience that exposes how empire still shapes life in Britain today.
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Black August and the Power of Global Black Resistance

Every year, as summer peaks in August, Black communities around the world observe Black August, a month-long reflection on Black resistance, revolution, and the enduring fight for liberation. Unlike festive celebrations, Black August is solemn and purposeful: it began in the late 1970s among Black activists and prisoners in California, intended as a time to honour fallen freedom fighters and political prisoners and to educate communities about the long history of Black rebellion

The aim is to channel the spirit of past revolutionaries – to learn from their struggles and carry on their legacy. Black August reminds us that the story of Black liberation is not confined to one country or one era, but is truly global and continuous.

Why August?

August holds a special place in Black history. The saying goes that “the month of August bursts at the seams with histories of Black resistance”. Indeed, many pivotal Black uprisings and milestones occurred in August. To name a few: the Haitian Revolution ignited on 21 August 1791, when enslaved Africans in Haiti (then Saint-Domingue) revolted against French colonial rule. This uprising grew into a 13-year revolutionary war that abolished slavery and led to Haiti’s independence as the first Black republic in 1804. Haiti’s victory – the only successful slave revolt in modern history – sent shockwaves through the colonial world. It proved that enslaved Black people could defeat empires, inspiring hope and fear in equal measure.

Fast forward to August 1955 in the United States: the brutal racist murder of Emmett Till on August 28, 1955, galvanised the civil rights movement. August 1965 saw the Watts Rebellion in Los Angeles, a fiery protest against police brutality and injustice.

Even Black August itself was inspired by events in August, notably the prison rebellion led by George Jackson, a Black Panther, which culminated in his assassination on 21 August 1971. August, therefore, is a month of martyrs and milestones on the long road to freedom.

By dedicating this month to reflection, Black August connects the dots between these events, asserting that they form part of an “unbroken line of resistance and sacrifice” in Black history.

Global Black Resistance: Beyond Borders.

A core principle of Black August is to study Black resistance throughout the diaspora. This means looking beyond our local or national history and understanding that Black people’s struggle against oppression has been worldwide. For Black British communities, educators and Black youth in particular; this global perspective is powerful and affirming. It teaches that our ancestors did not endure brutality passively; time and again, they fought back and reshaped history.

For instance, consider the Baptist War of 1831 in Jamaica. Enslaved Africans, led by preacher Samuel Sharpe, organised a general strike and uprising demanding freedom. It became the largest slave rebellion in the British Caribbean, involving some 60,000 people.

Though the colonial forces brutally crushed the revolt and executed hundreds, the rebels achieved something monumental: their resistance accelerated the abolition of slavery. British authorities, shaken by the scale of the uprising, passed legislation to emancipate enslaved people across the Empire just a few years later, by 1838. In other words, enslaved Black Jamaicans were not passive beneficiaries of abolition – they were agents of their own liberation, forcing the issue through direct action. This is a crucial lesson for young people: our freedom was hard-won by our own people’s courage.

Travel to the African continent and you’ll find similar stories.

In Kenya, the 1950s Mau Mau rebellion saw forest fighters and villagers resist British colonialism in a quest to reclaim their land and rights. The British authorities responded with mass detention camps and violence, but could not extinguish the thirst for freedom. The uprising is widely seen as a key stepping stone to Kenya’s independence in 1963.

In Ethiopia, in 1896, the Battle of Adwa became a legendary example of Black resistance: Ethiopian forces, under Emperor Menelik II, defeated an invading Italian army, ensuring that Ethiopia remained independent. This victory was celebrated across Africa and the Black world. Finally, a non-European nation had halted the juggernaut of colonial conquest. It gave hope to anti-colonial movements everywhere.

In Somalia, between 1899 and 1920, Mohammed Abdullah Hassan’s Dervish movement waged one of the longest anti-colonial wars in African history. For 21 years, Hassan’s guerrilla fighters defied the British and Italians, establishing a Dervish state in the process, until the resistance was put down by force. Such episodes, often left out of mainstream narratives, show that Black resistance was not rare – it was constant.

Why Teaching This Matters

For Black youth, learning about global resistance is empowering. It counters the Eurocentric narrative that paints colonised or enslaved people as victims who waited to be “saved” by others. Instead, these stories centre Black heroes: men and women who organised secret meetings, risked their lives, and sometimes paid the ultimate price to challenge injustice.

This fosters a sense of pride and possibility. If Dessalines, Sharpe, Nanny of the Maroons, Dedan Kimathi, or the countless unnamed fighters could stand up in their time, what can we do in ours?

It also nurtures solidarity. Black people’s struggles, whether in America, the Caribbean, Africa, or Europe, have common threads. Recognising this shared history of resistance helps build a sense of global Black unity. A Black British teenager tracing the story of the Haitian Revolution, or a Black American student learning about the Mau Mau, may see reflections of their own community’s struggles and victories. It’s a reminder that we are part of a bigger family and a continuous fight.

Teaching global Black resistance injects a radical awareness into education. It encourages young people to question why these histories were marginalised in the first place.

Why did we hear so little about the Haitian Revolution in school?

Why do mainstream history books gloss over colonial crimes and the rebellions against them?

Such critical questioning is itself an act of resistance against a curriculum that often sanitises or omits Black agency.

In the UK, Black history is often reduced to a few figures or the narrative of abolition led by white saviours, so incorporating global Black resistance into education is a radical act of truth-telling. It tells young Black Brits that their heritage is not just one of oppression, but also of heroism and innovation in fighting oppression. It’s an heritage that links them to freedom fighters in Jamaica, revolutionaries in Haiti, anti-colonial warriors in Africa, and civil rights activists in America. This knowledge can inspire confidence and a deeper understanding of identity.

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32 Years On: We Still Say Her Name. Joy Gardner

We remember Joy Gardner, a 40 year old Jamaican student in London, who was killed by police during a dawn deportation raid in July 1993. Officers handcuffed her, bound her with leather straps and gagged her with 13 ft of surgical tape until she collapsed. Joy suffered catastrophic brain damage from asphyxia and died in hospital four days later. An official inquest later ruled her death a “misadventure”, and no officer was ever held accountable.

Joy had come to Britain legally in 1987 and was studying media at London Guildhall University. By 1993 she was fighting to stay in the country, but immigration authorities decided to remove her. On 28 July 1993, immigration officials, backed by Metropolitan Police, raided Joy’s north London home. They forced her to the floor and, despite her pleas and five-year-old son in the room, they wrapped her head in tape and straps. She lost consciousness and fell into a coma. Four days later, doctors pronounced her dead from respiratory failure.

Soon after Joy’s death, community protests erupted under banners reading “Murdered by police – No justice, no peace.” But the criminal justice system failed her. In 1995, three officers were tried for manslaughter, and a judge even acquitted one, while a jury cleared the other two. The inquest concluded “misadventure”, treating her death as a tragic accident rather than the result of deliberate cruelty. In the end, no one was punished for Joy’s death.

Has anything changed since Joy’s death?

Officials’ own reports suggest the answer is “no.” In January 2024 the head of Britain’s police chiefs, Gavin Stephens, publicly acknowledged that policing still suffers “institutional racism”. He noted that decades of policies were made without Black people’s voices, yielding “disproportionate outcomes” for Black communities. Independent analyses underline this reality: Black people are just 3% of the UK population, yet they account for 8% of recorded deaths in police custody. One legal expert observed that since 1969 only one UK police officer has ever been convicted for a death in custody. In other words, police can kill with near-total impunity.

State violence is not “just an American problem.” Official data confirms deep bias. An Inquest report (Feb 2023) found Black people were seven times more likely to die after police restraint than whites.

Almost no officer is ever held to account: as one review bluntly notes, “no officer has ever been found to have acted in a racist or discriminatory way” in any fatal police-contact case. In short, British policing still operates within a white supremacist framework, from stop-and-search to use of force, despite repeated promises of reform.

The Hostile Environment and the Windrush Scandal.

State racism extends beyond policing into immigration policy. The Windrush scandal of the 2010s is a stark example. Thousands of British Caribbean people, many of them long-term legal residents, were suddenly classified as “illegal” by the Home Office. They lost jobs, homes and even freedom under Theresa May’s “hostile environment” rules. A leaked official report later admitted the ugly truth: for thirty years, UK immigration laws were explicitly designed to limit Black (and other non-white) immigration.

Every Act from 1962 to 1981 aimed to reduce the number of people with “black or brown skin” allowed into Britain. That is the racist DNA of today’s system – meaning Caribbean and African families have lived under a constant cloud of suspicion.

32 years after Joy Gardner’s death, Britain still has a racism problem.

Black lives in the UK continue to face the same indifference to injustice that Joy did. Until every officer is accountable, every death in custody is investigated, and every policy is free of racial bias, we will keep saying her name. Joy Gardner.

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MUA – A look into the influence Black UK make up artists have on the make up scene.

In this blog post, we will be looking at Black Makeup Artists in the UK who stand out and are well accomplished, on a national or international level. We love and support our talented service providers, and we will be showing appreciation for their dedication to the arts. A glimpse at looks that have caused quite the commotion, viral moments, and all levels of work, from editorial to runway, to bridal, to Instagram. Let the art speak for itself! 

Black British makeup artists have long shaped beauty trends, drawing inspiration from pageant queens and global icons. From bold ‘90s lip liners to today’s inclusive foundation ranges, their artistry reflects cultural shifts. As Black women gained recognition in UK pageants, makeup evolved to celebrate diverse skin tones. This history highlights the resilience and creativity of Black beauty in Britain. Including:

  •   Patricia Southall (Miss England 1978) – One of the first Black women to compete in Miss England.
  •  Rachel Christie (Miss England 2009) – The first Black woman to win the title. She was an athlete and niece of Olympic sprinter Linford Christie.
  •  Leila Lopes (Miss Universe 2011) – While representing Angola, she made waves in UK media for breaking Eurocentric beauty standards.
  •  Dee-Ann Kentish-Rogers (Miss Universe Great Britain 2018) – The first Black woman to hold this title. She later became a politician in Anguilla

There will be a follow up segment released next month on viral influencers and black make-up brands who are at the heart of the UK makeup scene: putting UK-black girl-makeup on the map, and the OG YouTube girls perfecting the bright under-eye we all love today. UK-girls are known for masterfully beating their face, and it slaying… these are allegations that we are not trying to beat.

Painted by Esther

First on the list is Ngozi Edeme also  known as  Painted by Esther, known for her pink blush that can be spotted a mile away with a seamless blend. Her hands have touched many faces being featured with supermodels at award shows and on red carpets. She has crafted a way to bring out a range of colour while working on darker skintone. With 102k followers on instagram and big names under her belt Naomi Campbell, Viola Davis, Nara smith, and Gabrielle union. As someone whose dedication is seen in every stroke of her brush and every dab of her beauty blender.

Her page: https://www.instagram.com/paintedbyesther?igsh=M29wZzZtenk5ajEy

PatMcgrath

Pat McGrath’s amazing ‘glass skin’ look, which went viral from the Maison Margiela 2024 artisanal show by John Galliano, where models were made to look like porcelain dolls.

In her 25-plus year career, Pat McGrath has been responsible for the makeup on models featured on over 500 magazine covers. Her work has been featured in the world’s most prestigious fashion magazines, including: American Vogue, British Vogue, French Vogue, W Magazine, Harper’s Bazaar, i-D magazine and so much more.

Renowned for her visionary work in high-fashion runway shows and editorial shoots, McGrath has consistently pushed the boundaries of makeup artistry. 

Now, the Creative Director of cosmetics for LV (Louis Vuitton), her influence extends even further.

She also has a makeup line called Pat McGrath Labs, and the reviews don’t do it justice! With over 6 million followers: it’s privately held and is valued at $1 billion, a testament to her years of skill and dedication, McGrath’s emphasis on luminous skin and her fearless creativity continue to inspire aspiring MUAs. As she wisely states, ‘Trusting your instincts is essential,’ and ‘Staying true to your vision is key.’ She encourages us all to ’embrace every opportunity as a chance to learn and grow,’ reminding us that every step, every experience, contributes to our journey. And in a career where creativity is paramount, she urges us to ‘be fearless in your creativity.’ Her own journey stands as a powerful example, demonstrating that with dedication, passion, and a genuine love for the art, you too can achieve remarkable things

Her Page: https://www.instagram.com/patmcgrathreal/

Bernicia Boateng

A makeup artist who knows a little about lifestyle, providing us with glimpses into her amazing outfits, red carpet looks, and serving more than her occupation. When it comes to balance and showing more than your brand online, Bernicia has a standalone, thriving social influencer career, as well as a talent that makes her the absolute best.

Bernicia Boateng, a London-based makeup artist with Ghanaian heritage, grew up in London. Her passion for makeup began at the age of 19, practicing her skills on friends. Her expertise and artistry guide her red carpet and editorial approach. She has celebrity clientele, including Michaela Coel, Jodie Turner-Smith, and Da’Vine Joy Randolph, demonstrating her exceptional talent, which has also graced the pages of prestigious publications like Vogue and The New York Times.

Notably, Boateng launched her own studio in 2018 focusing on helping people from London who are on lower income, she wants to ‘make beauty treatment just as accessible, and her influence has been recognised with a place on the Forbes 30 Under 30 Arts & Culture list in 2020, as well as being named one of London’s most powerful black fashion creatives in 2023. 

She isn’t just a makeup artist; she’s a lifestyle influencer, showcasing her fashion sense and red carpet looks, thus blending beauty and fashion. She’s built a significant online presence, demonstrating a strong understanding of branding and social media engagement, which allows her to have a thriving social influencer career. Her work often merges beauty and fashion, showcasing her ability to create complex looks that go beyond just makeup application. She has experience creating looks for red carpet events, indicating a high level of skill and attention to detail. Bernicia has built her brand to include multiple areas of expertise, displaying a strong entrepreneurial spirit in the beauty and lifestyle industries.”   

 Make up page: https://www.instagram.com/berniciaboateng?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

Her Social page: :https://www.instagram.com/livinglikebeni?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

MakeUp by Chelsea

Known for her eyeshadow and skinny brows (some might say anorexically thin, but she totally pulls it off), her back-to-back viral moments and 105k followers on instagram, trust that you’ve definitely seen her work even if you didn’t realise it! Arya Starr’s viral headband look for Balenciaga was a MOMENT we shall treasure. Makeup by Chelsea’s recent viral work includes Doechii’s three back-to-back looks during Paris Fashion Week, crafted minutes apart. Bringing the art of makeup backstage and putting it on wheels… have we just discovered a new extreme sport? Well, if we have, trust Chelsea would win gold every time! She even tweeted that she did that viral smokey eye look in 10 minutes… in a moving car!! Making Waves, her most recent Declaration is a White eye shadow for the 2025 summer!!

Her page : https://www.instagram.com/makeupbychelseax?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== 

She started with the LV Look >  to the ACNE studio show where she brought a thin brow out > then the final Tom Ford look.

A break down of the process link in this Tiktok: https://vm.tiktok.com/ZNdeqUweu/

Beautybygbemii

Next up on this list is Beauty By Gbemi, a Nigerian, Black British content creator and beauty influencer who has been slaying the makeup game since 2015! From flawless beats to stunning hair transformations, Gbemi has built a powerhouse presence in the beauty space.

With an impressive 190,000+ YouTube subscribers, she’s not just a beauty enthusiast, she’s a go-to expert for hair lovers everywhere! Whether it’s the latest wig installs, styling tips, or must-have product reviews, Bemi keeps her audience hooked with her engaging content and expert advice. There is more to her story Gbemi stance is enhance your natural beauty its the key ethos of her Business: Youtube videos that are fan faves include Make up looks from 8 years ago that has reached 911k views

Link here: https://www.instagram.com/beautybygbemii?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

Glam by Maurella

 The UK based international MUA: She has Beat the faces of Jayda Wayda, Patricia Bright, Eva Apio, Dess Dior, Unclewaffles: Trust that the face cards never decline when Glam by Maurella is done with them.

Her page: https://www.instagram.com/glambymaurella?igsh=ZmZ0eGFhMngyNTh3

Maurella keeps beauty effortless yet flawless! Unlike some artists who focus on over-the-top editorial looks, she specialises in soft glam, sultry smoky eyes, and red-carpet-ready full glam; perfect for both everyday wear and high-profile events. Whether it’s a bridal moment, a photoshoot, or just a night out, her artistry ensures a polished, camera-ready finish.
Her services are designed for everyday people, making high-quality glam attainable and approachable. With a pricing range of £85-£105 for makeup services and in-depth lessons starting from £300-£500, she provides both affordability and expertise.

With 35K Instagram followers and a solid reputation, Maurella has cultivated a growing community that values her artistry. She stays drama-free, letting her work and client satisfaction speak for itself. In a recent campaign with Celsius featuring Declan Rice, she provided grooming services for him. For those looking for a trustworthy, talented, and accessible MUA, Glam by Maurella is one to watch!

Arikeartistry:

Artistry done right is her slogan, and we can clearly see why! With a focus on skin and the importance of skin care and prep first to achieve a better base, the work speaks for itself but let me add captions to further establish her true craftsmanship. She has a following of around 26 thousand people on Instagram and displays a range of looks on her page, her notable soft glam and full glam looks tailored to the shape of each person’s face, choosing product placement and shades that bring out the best looks for each client. Her services are designed for everyday people, making high-quality glam accessible.

Her page: https://www.instagram.com/arikeartistry?igsh=YXBmaTBzcnZwMDln

RantsMua

Here is a break down of products used on the this face:

Recently featured in a British Vogue article titled ‘How to make your foundation last all day..’ . An Mua known best for her bridal looks. Bringing Grooms to tears as the bride takes that step down the aisle, is a flex not everyone can claim. It takes trust and openness on both sides to achieve the dream look. As part of the key people on the big day, you need to be confident and calm as you do your best work. Ranti stated that her favorite bridal look is this one highlighted below and we can see why :

@toofaced @toofacedlovestheuk the natural nudes palette, @poundlashes 4D Halo, @maccosmetics coffee eye pencil, @makeupbymario 230, @toofaced butterscotch, mocha and @tartecosmetics medium concealer, @bobbibrown natural walnut foundation stick, @fentybeauty 430, and cocoa naughty bronzer, @maccosmetics peaches and @yslbeauty 37 make me blush, @narsissist orgasm, @barrymcosmetics chocolate lipliner, @maccosmetics yash, @morphebrushes_uk frosse bliss gloss ❤️

Beauty by Solange

Solange did her big one, her absolute best when adding her touch to these faces,  multifaceted in her capabilities the potential when you sit in her chair, are endless one thing that is guaranteed a great lay and a Face card that won’t decline any time soon, AMEX has nothing on BeautybySolange. Based in South London, she offers Masterclasses and has worked with hosts, reality TV stars, influencers, and talented individuals as they attend awards shows. In front of many cameras whether on the stage or on your ‘FYP’ [For You Page] the beat by Beauty by Solange is awe-worthy and worth every like.

Check out her page:https://www.instagram.com/beautybysolange? .

As we conclude this blog, I have to shout out the amazing MUAs who took a risk and started their business. There are so many steps involved, behind-the-scenes struggles, countless days of turning up after burnout, and a work-life balance that is at times non-existent. These amazing businesswomen wear many hats—from managing brand image, social booking systems, and emails, to monitoring DMs. The story behind each page featured in this blog, shows dedication and a love for their craft and the work they do!

Thank you for reading and check out BLAM UK on twitter and Instagram we would love to hear your thoughts.

Written by Pamilerin Thompson

We’re Hiring: Senior Team Leader for Groundbreaking Research on AI, Policing & Racial Justice

BLAM UK is launching a new project:
“Investigating Racial Bias in AI-Enhanced Surveillance Technologies and Predictive Policing Models in London.”

We’re looking for a radical, strategic, and justice-oriented Senior Team Leader to help us lead this important work.

About the Project

This 18-month research project examines how AI tools used by the police, like facial recognition and predictive algorithms, may be reinforcing existing racial bias and deepening surveillance and criminalisation of Black communities in London.

These technologies are often trained on biased data, and as a result, can automate discrimination—especially against young Black people. Our goal is to uncover these harms, build legal and policy responses, and empower communities with the knowledge to challenge racist technologies.

What You’ll Do

As the Senior Team Leader, you’ll guide the full delivery of the project: from managing research activities to co-developing legal and policy recommendations. You’ll lead a small team and work closely with external legal experts and community partners.

You’ll be responsible for:
🔹 Coordinating research activities (e.g., FOI requests, interviews, analysis)
🔹 Facilitating team meetings and external partnerships
🔹 Leading the development of public reports and advocacy materials
🔹 Supporting legal accountability and grassroots campaign work

Who We’re Looking For

We want someone with a clear abolitionist lens, who understands the history and current realities of racialised policing in the UK, and who’s passionate about dismantling oppressive systems through rigorous, community-informed research.

We’re especially interested in people with experience in racial justice research, community organising, or tech policies, and who understands how policing, surveillance, and data intersect to harm Black communities.

Job Details

📝 Job Type: Freelance
💸 Pay: £25,000/year (Part-Time: 30 hours/week)
🕓 Schedule: Flexible, remote work (Monday–Friday)
📆 Application Deadline: 30 July 2025
🚀 Expected Start Date: 4 August 2025

How to Apply

To apply, please send your CV and a cover letter outlining your experience, interest, and alignment with the project’s values to:
📧 christivie@blamuk.org
📧 ife@blamuk.org
📧 bettinaxblam@gmail.com

Be sure to CC all three addresses in your application.

Should you have any questions or for more information about this role, please send an email to bettinaxblam@gmail.com

Debunking the Myth of the “Evil” Jab Jab

Jab Jab (from French diable, devil) is often misrepresented in media as something dark or demonic. In reality, Jab Jab is a proud Grenadian and Caribbean masquerade tradition rooted in resistance and celebration, not evil. It dates back to 1834, when slavery was abolished across the Caribbean. Freed people took to the streets at dawn on J’Ouvert, an early-morning carnival festival, covering themselves in black to celebrate liberation. Far from being servants of Satan, Jab Jabs were celebrating their freedom from devilish oppressors.

The name itself ,“Jab”, meaning devil was deliberately reclaimed by enslaved Africans who were derogatorily called “devils” by colonisers. By playing the devil, they mocked their masters. As Ian Charles of Jambalasee Grenada explains, Jab Jabs would take everything slave-owners said was “wrong” about them, their blackness, their wildness and “amplified it and took to the streets”. This is protest theatre, not devil worship. It’s the ultimate clapback: if you call me a devil, I’ll be the best devil you’ve ever seen, to flip your racist definition on its head.

Symbolism of JAB JAB:

Black Paint/Oil: Blackening the body has deep meaning. It connects participants to their African ancestry and the nightmarish torments of slavery.

On J’Ouvert, people coat themselves in oil, molasses, or paint (in London, washable paint replaces oil for safety). This was literally how freed slaves celebrated in Grenada. The black skin is not “witchcraft”; it’s a bold display of unity and Blackness, pride in the face of a world that once said their black bodies were “substandard”.

Horns: Shiny horns strapped to helmets aren’t satanic props, they’re a satirical puppet show. Enslaved people used Christian imagery against slave-owners, dressing up as the “devils” that plantation owners accused them of being.

By wearing horns, performers wear the devil’s outfit on purpose, an ancient form of rebellion. As one carnivaller put it, “We are ridiculing what the oppressors told us we are… you call me a devil? Well, I’ll show you a devil”

Chains and Props: You’ll often see chains, shackles, coffins, or even faux snakes. These aren’t tools of oppression here; they symbolize breaking out of oppression. A broken chain on the street is a powerful emblem of emancipation.

Colonial Tropes and Misunderstanding

Why then do some outsiders cry “evil!”? The answer lies in colonial history. European colonisers consistently demonised African and Caribbean traditions, branding them “primitive” or “satanic” to justify oppression. Practices like African Spirtuality or Vodou rituals were maligned as devil-worship by slave owners and missionaries.

Today, the same narrative resurfaces when well-meaning but uninformed critics misread J’Ouvert culture. Some social media users have even labeled Jab Jabs as “witchcraft” or “satanic” language lifted straight from the colonial handbook.

This is racist tropes, repackaged.

At Notting Hill Carnival (a Black British-Caribbean institution co-founded by Windrush pioneers), every year the same misunderstandings resurface. News coverage often highlights a few fearsome Jab costumed revelers as “eerie” or “devilish”, echoing the colonial script. But as Independent columnist Nadine White notes, this kind of sensationalism is exactly what those colonial masters wanted: to scare and discredit Black joy.

Reclaiming the Narrative

It’s more important than ever to reclaim Jab Jab from these tropes. Accusations of “evil” only erase the truth of this culture. Instead of gossiping that it’s satanic, we should highlight that Jab Jabs are honouring the ancestors’ resistance and creativity. As Grenada’s prime minister said, their carnival “is a collective expression of our creativity,” a release valve from centuries of grind and pain. In Britain, acknowledging the real history of Jab Jabs can help us appreciate that Notting Hill Carnival itself sprang from a legacy of racial struggle and resilience.

Cultural heritage isn’t optional or negotiable; it’s a living lineage. We reclaim Jab Jab by celebrating it openly, teaching its story, and calling out the trolls. The next time someone cries “devil!”, we can proudly say: “Yes…the devil masks, and we wear them to honor our history of triumph over slavery.” That’s how we safeguard an authentically African-Caribbean tradition for future generations, free from misunderstanding and prejudice.

Pearl Alcock: Building Black Queer Joy in Brixton’s Underground.

Pearl Alcock (1934–2006) was a Jamaican-born Black British artist, businesswoman, and community builder. For much of the 1970s and ’80s she ran a secret club in Brixton that became legendary , Pearl’s Shebeen, the only gay bar in the area. This underground space welcomed Black gay and bisexual patrons from across London, giving them a rare sense of safety and joy. As a proud bisexual woman, Pearl used her entrepreneurial spirit to cultivate community, “enriching the lives of so many in the queer community in Brixton”. Today, BLAM UK commemorates her during Pride Month, celebrating a life that defied racism and homophobia through creativity and care.

From Jamaica to Brixton.

Pearlina Smith was born in Kingston, Jamaica in 1934. She left Jamaica at 25 (leaving an unhappy marriage behind) with only £5 and a determination to remake her life

Like many of the Windrush generation, she arrived in Britain to face entrenched racism. Her early years in the UK were tough: she worked as a maid and in factories in Leeds, saving every penny.

By 1970 she had accumulated £1,000 and moved to London, where she opened a women’s dress boutique at 103 Railton Road in Brixton. Brixton was already a vibrant hub for Caribbean immigrants (and an emerging centre for gay rights activism), and Pearl’s arrival would soon add a new chapter to its story.

Pearl’s Shebeen: A Hidden Safe Haven.

In the mid-1970s, Pearl did something daring. She converted the basement of her Brixton dress shop into an illicit club, a shebeen called Pearl’s. For a small cover charge, patrons bought half-pints of beer and could “bring their own records”. The result was a laid-back party atmosphere, with no fights and lots of dancing. Crucially, this was a space built by a Black bisexual woman for Black queer people. It quickly became the only gay venue in Brixton and attracted mostly Black gay men from the Caribbean.

Inside Pearl’s basement, people could relax “without the cloud of cis white judgement”. Even the drinks were cheap and the music warm. Pearl herself tended bar on many nights, playing records and talking with friends. For those who knew it, Pearl’s Shebeen was a sanctuary, a place free from the racism and homophobia that lurked in most other British pubs and clubs. By refusing to serve alcohol beyond the community’s needs (and even banning fights), Pearl created an environment where Black LGBTQ+ Londoners could be themselves.

On the same block, racism was overt: the nearby George pub famously barred Black people and gay people from entering. That pub was actually burned down in the 1981 Brixton uprisings, as Black residents protested police injustice. But in Pearl’s bar there were no such exclusions; only solidarity. As one patron remembered, Pearl’s Shebeen was unique in attracting people to feel “comfortable in a queer space without the racism” found elsewhere.

@openlynews

Have you ever heard the story of Pearl Alcock and her secret bar for Black gay men in the late 1970s?   🎙️ Reporter: Abi McIntosh in London.   #lgbtqhistory #queerhistory #blackhistory #london #pridemonth

♬ Aesthetic – Tollan Kim

Challenges and Community Resilience.

Pearl ran her shebeen through much of the 1970s, but the tide was turning by decade’s end. Margaret Thatcher’s 1979 election marked a conservative shift, and local authorities began cracking down on unlicensed bars. Fearing police raids, Pearl made the hard decision to stop selling alcohol in 1980. She shut down the shebeen entirely by 1981, closing the doors to protect her patrons from harassment.

Refusing to abandon her community, Pearl moved her enterprise next door to 105 Railton Road and opened a modest café. This new café was bare-bones, one friend recalled it run “by candlelight” when bills weren’t paid, but it retained the spirit of Pearl’s hospitality. It became another refuge for local residents, mostly of West Indian heritage, to gather and talk.

However, the early 1980s were difficult for Brixton. The Brixton riots of 1981, sparked by police brutality, led to unrest on Railton Road itself. Many businesses saw customers disappear. Pearl’s boutique and café eventually closed (the café wound down by 1985). By then Pearl was facing personal hardship, but the community she built did not vanish.

Throughout these trials, Pearl acted as a quiet leader. Although not a conventional activist with speeches, she “quietly collaborated with local organisations to advocate for LGBTQ+ rights”. Her experiences of racism, sexism, and homophobia- As a Black Jamaican immigrant and bisexual woman – informed everything she did. In running safe spaces and simply caring for people, Pearl was a grassroots activist. Her bars and café weren’t just businesses; they were unspoken protest against exclusion.

Outsider Art and Creativity

After her café closed, Pearl turned inward and discovered another talent: art. She started making drawings to thank friends who had supported her. Pearl would doodle on any scrap, receipt paper from the café, birthday cards, even cardboard and give the results to people. When her friends loved these little drawings, they encouraged her to keep going. Soon she was selling handmade bookmarks for £1, and folks pitched in money to buy her paints and canvases.

Pearl Alcock was entirely self-taught, a true outsider artist. Her style quickly became distinctive: bold, abstract compositions full of colour and energy. Many canvases feature swirling lines, cosmic shapes, and figures that seem to dance. Pearl explained her process in one interview: “When I move my hands like this… it means I am smiling, and I’m singing… I take a little bit and I put it there”. Critics later noted that her work felt “authentic, spiritual and representative of her Caribbean roots”, as if each painting carried the rhythm of Jamaica within it.

Over the late 1980s and 1990s, Pearl’s artwork attracted attention in niche art circles. Local galleries in London’s scene began to exhibit her pieces (such as the 198 Gallery in Brixton, the Almeida Theatre and the Bloomsbury Theatre). In 1990 her art was chosen for the annual London Fire Brigade calendar. Yet mainstream recognition was slow: it wasn’t until 2005 that Tate Britain included her in a survey of Outsider Art. By then Pearl was 71 and still painting every day in her tiny flat. Her canvases with dreamlike scenes and joyous colour finally reached new audiences. She later recalled that art allowed her to express all she couldn’t in words: “Everything I do has to come from my head… These things just come to me.”

Fighting Marginalisation.

Pearl Alcock’s life shines a light on how intersectional identities shaped British LGBTQ+ history. As a Black bisexual woman, she navigated multiple layers of prejudice.

During her lifetime, Black queer people were largely invisible in public life. Polls of the era show that many institutions simply ignored lesbian and gay issues in Black communities, and likewise racial justice groups often sidelined queer concerns. Pearl knew these challenges firsthand: mainstream gay bars and even political groups could exclude people who looked like her.

Instead of focusing on these injustices overtly, Pearl’s response was to create community from below. The historian of Black queer Britain Jason Okundaye argues that stories like Pearl’s rarely appear in textbooks; they survive through “history from below”, in memories and family photos. Pearl’s own statement to friends, to be “authentic” and carry on painting even with nothing, became a quiet manifesto of defiance. By simply running her bar and making art on her own terms, she embodied an activism rooted in self-expression and solidarity.

Her legacy also intersects with broader political struggles. The very existence of her shebeen was a pushback against the police violence and social exclusion Black people faced. When Thatcher came to power and Section 28 later threatened LGBTQ+ and Black organising, people like Pearl had already been building safe networks for years. Her story connects to a larger tapestry of Black British queer activists, from Pride march organisers like Ted Brown to artists like Ajamu X, who all helped make room for Black gay and lesbian voices in Britain’s history.

Legacy and Recognition.

Pearl Alcock passed away in London on 7 May 2006 at age 72. Her funeral drew many friends and locals, a final testament to how beloved she was. In the years since, there has been a renewed effort to honor her contributions.

In 2019 Manchester’s Whitworth Gallery mounted the largest ever solo exhibition of Pearl’s art. Meanwhile writers and archives have begun telling the story of her legendary shebeen:

for example, Bernardine Evaristo immortalized “Pearl’s shebeen in Brixton” in her Booker-winning novel Girl, Woman, Other.

For Black LGBTQ+ Britons, she represents an early generation of pioneers who built their own spaces when society had none. By remembering Pearl Alcock this Pride Month, we honour not only her art but also all those who found hope, joy and belonging in the community she created.

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From Pirate Radio to Festival Headliners: How Black British Music Rose in the UK.

Black music is riding high in summer 2025. From Recessland to Notting Hill Carnival and Wireless, genres of the Black diaspora: Afrobeats, Amapiano, grime, reggae, Dancehall and R&B dominate festival line-ups. It feels like a victory lap for Black music. But not long ago, things were very different. Black music in Britain was often criminalised, marginalised, and pushed underground. To understand today’s triumph, we must remember the journey from resistance to recognition.

Pirate Radio and Sound Systems: Innovation Out of Exclusion.

In the 1950s and 60s, Britain’s Caribbean community met with hostility. Black partygoers were often turned away from segregated “whites-only” clubs, and mainstream radio wouldn’t play their music.

So they built their own scene: Jamaican-style sound systems – giant speaker stacks that turned living rooms into makeshift dancehalls called blues dances.

These DIY gatherings offered a taste of home and a joyful form of resistance. By 1973, Notting Hill Carnival had sound systems roaring in the streets.

By the 1980s, pirate radio was carrying Black music over the airwaves from tower block transmitters, bypassing mainstream stations. In 1981, DJ Lepke launched Dread Broadcasting Corporation (DBC) – the UK’s first Black-owned pirate station – pumping out reggae, soul, funk and more. Lepke “laid down a cultural marker” whose “ripples…were critical in shaping mainstream British music in the 21st century” according to author Lloyd Bradley. DBC set the tone for others like KISS FM, which soon went from pirate to legal by 1990. Many pirate DJs honed their skills on sound systems, learning to move crowds on their own turf. These outlaw stations fueled musical innovation when Black voices had few other outlets.

Reggae, Garage, Grime, Drill – The Sound of Black British Identity.

Each underground genre carried the voice of its generation:

  • Reggae & Lovers Rock (1970s–80s): The soundtrack of the Windrush generation, with rebel lyrics of pride and protest.
  • UK Garage (1990s): A soulful, uptempo club sound that scored mainstream hits but still faced stigma – e.g. South London’s So Solid Crew had gigs cancelled over an exaggerated “violent” reputation, even as talents like Ms Dynamite broke through to win major awards.
  • Grime (2000s): A raw, rapid-fire genre born on East London estates and pirate radio. Grime let disenfranchised youth share their truth over gritty beats. Dizzee Rascal’s Mercury Prize win in 2003 put grime on the map, even though the industry initially treated the scene as an “outsider”.
  • UK Drill (2010s): A hard-hitting rap style with an unapologetically British identity. Drill lyrics depict inner-city realities unflinchingly. Like its predecessors, drill drew police and media ire, yet its popularity proved impossible to silence.

Fighting Racist Policies and Policing.

Black music’s growth has continually met resistance from authorities. Police often viewed Black-led events and genres as threats to be controlled. In the 2000s, this bias took a bureaucratic form: London’s Metropolitan Police introduced Form 696, a “risk assessment” that disproportionately targeted Black music nights. The form infamously asked promoters to list the music genre and even the ethnic makeup of the crowd – a policy widely condemned as racist.

Grime shows bore the brunt, with artists like JME, Wiley and Tinchy Stryder seeing gigs pulled, and garage, reggae and R&B events also shut down under “safety” concerns. Police denied bias, but Form 696 was toned down in 2009 and finally scrapped in 2017 after public outcry.

Even before Form 696, acts such as So Solid Crew saw entire tours axed by police – reinforcing the idea that Black artists were “too risky” for live venues. In the 2010s, several drill rappers faced court orders and video bans aimed at muzzling their music. It was a heavy-handed approach that was nothing new. Yet at every turn, artists and promoters found ways to persevere.

Resilience and New Platforms.

In the face of such barriers, Black Britons doubled down on creating their own platforms. The success of pirate radio even pushed the BBC to launch 1Xtra in 2002 as a dedicated Black music station.

@channel.u

Estelle – 1980’s #Estelle #ChannelU #Grime #UKRap #UKGrime #GrimeMusicVideo #ChannelAKA

♬ original sound – Channel.U.Videos

When mainstream TV ignored homegrown “urban” talent, the community answered with Channel U. Launched in 2003, Channel U was “one of the only” places to see authentic Black British youth culture on screen. It played grime and rap videos that MTV ignored, turning MCs like Giggs and Tinchy Stryder into stars. By building their own media and events, Black creatives ensured their music was heard.

Over time, the sounds once confined to pirate stations and basements became the pulse of the mainstream. Black music is now the main attraction at Britain’s biggest festivals. Dedicated Afrobeats festivals are booming, and even Notting Hill Carnival, once eyed with suspicion, is hailed as a proud symbol of London. What was pushed to the margins is now front and centre.

From Margins to Main Stage.

As we revel in summer 2025’s Black music takeover, we must remember this triumph did not come easy. The journey from pirate radio and underground clubs to festival main stages was hard-won. What was once dismissed as “noise” or criminalised as a “threat” is now the heartbeat of British pop culture.

Let’s celebrate how far Black British music has come and remember the roots and resistance that paved the way.

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Malcolm X at 100: Radical Legacy for Black Britain

Malcolm X (1925–1965) was an African American leader whose uncompromising demand for Black dignity and self‑determination reverberated around the world. Born Malcolm Little on 19 May 1925 in Omaha, Nebraska, he witnessed violent racism from childhood – his family’s home was burned and his father killed in a likely KKK attack. These experiences drove him to seek change.

After prison he joined the Nation of Islam and adopted the surname “X” to reject his “slave” name. By the early 1960s he had become a prominent civil rights figure, known for fiery speeches and slogans like “by any means necessary”.

Unlike Martin Luther King Jr’s emphasis on integration, Malcolm often spoke of Black nationalism and pride in a separate Black identity. He called on African Americans to use education, economic power and even self-defence to achieve justice – famously saying “Education is our passport to the future”, meaning learning was essential for empowerment.

A Tour of Britain and Pan-Africanism

By late 1964 Malcolm’s global ideas were on full display. In November he toured Africa and then debated at the Oxford Union in Britain. Oxford’s prestigious “Queen and Country” debate motion that year was “Extremism in the defence of liberty is no vice…” Malcolm spoke passionately in favour, winning extended applause. One Oxford student reported that he argued Black people must “band together and do whatever… is necessary to see that our lives and property are protected”. (Unsurprisingly, the more conservative Union voted down the motion.) Malcolm’s presence at Oxford shocked many Britons. The Sun newspaper warned he was a revolutionary who wanted a separate state “where coloured people could live undisturbed” and might use violence to get it

A few months later, in February 1965, Malcolm returned to Britain for a short anti-racism tour. He visited Smethwick, near Birmingham, notorious at the time for Peter Griffiths MP’s racist campaign slogan – “If you want a nigger for a neighbour, vote Labour or Liberal”. Invited by the Indian Workers’ Association, Malcolm went to Marshall Street to witness housing discrimination firsthand.

There he shocked the world again: telling reporters he came because he was “disturbed by reports that coloured people in Smethwick are being badly treated”, and fiercely warning that he “would not wait for the fascist element in Smethwick to erect gas ovens”

After Smethwick, Malcolm returned to the U.S. and was assassinated just weeks later. But his ideas lived on. By the time of his death he had become a leading Pan-African voice. He had argued that the struggle of Black Americans was directly linked to anti-colonial struggles worldwide.

For example, after touring Ghana, Nigeria and other newly independent states, he told Americans that Africans had won freedom faster than the U.S. had, and he urged studying their example. He insisted the civil-rights movement needed international allies: “It is only in the United Nations, where everyone has an equal vote, that the plight of the Black man can be given a just hearing”.

And he extended his solidarity even further. During a 1964 trip to the Middle East, Malcolm visited Gaza, spoke with Palestinian refugees, and came to see the Israeli–Palestinian conflict as part of a global fight against colonialism.

In September 1964 he wrote a now-famous essay titled “Zionist Logic” (published in the Egyptian Gazette), warning that Zionism was a modern colonial project threatening not just Arabs but “the world” – in other words, any oppressed people. This controversial stance – far ahead of most American politicians at the time – reflected how Malcolm’s anti-racist vision embraced all struggles for self-determination.

Malcolm X’s Legacy for Black Britain Today

What does all this mean for Black Britons, and especially young people, in 2025?

Malcolm X never visited today’s multiracial London, but his lessons cross the Atlantic. He demonstrated that British society was not immune to racism – a point driven home by his Smethwick confrontation. His insistence on self-respect and community control (“We are not human beings unless we band together…” speaks directly to anyone facing prejudice here. His call for education, economic independence and running your own institutions still resonates with community organisers and entrepreneurs. And his demand for justice “by any means necessary” reminds us that while ballots are vital, no one should be left defenseless.

Today’s Black British activists also see their struggles in global context, from solidarity with African and Caribbean diaspora causes to linking with anti-racist movements worldwide, exactly as Malcolm urged. As he prophetically put it, Britain can’t claim to be the “mother country” of Black subjects without facing the truth of Black resistance.

Racism is a Mental Health Issue: Mental Health Awareness Week 2025.

Every year the Mental Health Foundation’s Mental Health Awareness Week (12–18 May 2025) spotlights a theme. This year, the focus is “community”, celebrating the power of connection and support. Communities give us belonging, purpose and safety – everything our mental well-being needs

But as we come together this week, we must also confront forces that harm our community. One of those is racism. In particular, anti-Black racism inflicts deep psychological wounds on individuals and entire communities. In the words of the Mental Health Foundation, “racism is a mental health issue because racism causes trauma”.

Decades of research confirm that repeated exposure to racism – from insults and microaggressions to structural discrimination – produces chronic stress, anxiety, depression, even post-traumatic stress. As Stop Hate UK notes, experiencing racism is strongly linked to poor mental health outcomes like depression, stress, anxiety and PTSD, and even the fear of racism can itself be harmful.

Education should nurture children’s potential, but too often schools do the opposite for Black students. Studies find that almost every Black pupil in Britain experiences racism at school.

BLAM UK’s new report makes this painfully clear: 84% of Black people surveyed said they had faced racism in school, 74% had been subjected to racist “jokes” or banter, and roughly half said these experiences damaged their mental well-being. It is no surprise that many Black students report feeling constantly on guard, anxious, even depressed in school settings.

In a system still steeped in colonial biases, classrooms too often teach ignorance and inflict trauma. Black history is sidelined or reduced to a narrative of oppression, and policies frequently punish Black children by policing their hair, language or culture; instead of protecting them. These forms of everyday racism accumulate, chipping away at self-esteem and sense of safety.

The reality is that racism doesn’t stay in school: it echoes in our politics and media too. Earlier this week, Prime Minister Keir Starmer warned that Britain risks becoming “an island of strangers” without strict immigration controls

Many listeners were shaken by that phrase and not just because of its timing. It echoes Enoch Powell’s infamous 1968 “Rivers of Blood” speech, in which he warned that whites would become “strangers in their own country” if Britain did not curb immigration.

Powell’s speech was immediately condemned as an “appeal to racial hatred”, and he was sacked from the shadow cabinet soon after. Yet the toxic language he used did not disappear; it helped normalise the idea that immigrants (often coded as Black or brown people) are an existential threat.

In 2025, hearing a Labour prime minister repeat the “island of strangers” trope feels like stepping into history’s darkest shadow. It retraumatises many Black Britons by reviving a narrative of exclusion and danger.

Every reference to migrants as invaders, or Black communities as outsiders, signals to Black listeners that they are suspect in the eyes of the nation. This fear can linger long after the words are spoken, fuelling stress, hyper-vigilance, and a sense of not belonging. In Mental Health Awareness Week, we must name this harm: racism and racist rhetoric contribute to a kind of racial trauma.

At BLAM UK, we are committed to providing culturally relevant support for Black communities across the UK. Our Zuri Therapy workshops offer a space for Black clients to heal racial trauma with Black therapists. Additionally, we run a unique event that combines self-defense classes with Space Space Hub, offering both empowerment and well-being through physical and creative expression. We also advocate for change in schools by conducting anti-racism training for teachers and organisations, helping to create inclusive and supportive environments. At BLAM UK, we believe in the power of community and collective action to heal, resist, and overcome the impacts of racism.

In this week of reflection, let’s channel awareness into action. Read and share BLAM UK’s report Eradicating Anti-Blackness in the UK Education System, which lays bare how schools fail Black students and calls for urgent reform. Support the campaign for a decolonised curriculum – one that teaches Black history across subjects, not just in one month. Back calls for mandatory racial-literacy training for all teachers and an end to racist school policies. Most of all, stand up against racism wherever you see it – in conversation, in policy, in daily life.

Mental Health Awareness Week is about connection, but connection means confronting hard truths. Racism disrupts the community and damages mental health. By acknowledging this, by listening to those who suffer it, and by strengthening our bonds of support, we can begin to heal. Together, as a caring and connected community, we can turn the tide on racism and protect the mental well-being of everyone. Read BLAM UK’s report, share its findings, and help build the inclusive, anti-racist schools and society that we all deserve.

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