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.
Sadia Kabeya, a 23-year-old flanker for England’s Red Roses, is a rising star on the rugby pitch. She’s also the inventor of a groundbreaking satin lined scrum cap, a simple yet powerful innovation born of Black cultural wisdom. In a sport long dominated by white men, Kabeya’s creation stands out as a beacon of Black innovation, protection, and self-expression.
Protecting Black Hair on the Rugby Field.
Kabeya’s idea for a satin-lined scrum cap came from a problem she knew all too well. As a Black woman in rugby, she found that standard scrum caps weren’t designed for afro-textured hair. Wearing them over braids or curls often led to painful rubbing and hair breakage
Back in her mostly Black school team, girls would simply wear headscarves under their caps for protection. But in the wider rugby world, that kind of safeguard wasn’t available.
To solve this, Kabeya collaborated with a sports manufacturer to line a scrum cap with satin. Black women have long used satin bonnets and scarves at night to protect their hair from friction.
The satin lining dramatically reduces friction on coils and curls, preventing the “wear and tear” rough fabrics can cause, and also helps hair retain moisture to avoid brittle strands
With this extra layer inside, Black players can focus on the game without worrying about their hair. It’s a simple addition that acts like armour for our crowns – preserving both beauty and confidence on the field.
At the elite level, Black women remain few and far between, and many have felt overlooked. Kabeya is one of the new voices changing that. By creating equipment for Black hair, she sends a message that rugby can embrace us exactly as we are.
The impact goes beyond current players. Kabeya noted early on that a scrum cap for afro hair might help more Black girls stick with the sport. Seeing a top player prioritise Black hair sends a powerful signal of representation and encouragement. “I would have loved to have seen this when I was 12 or 13,” Kabeya said, reflecting on how validating it is to have someone who “felt the same way” about these struggles
Now she gets to be that role model. Young Black girls can watch an England international wearing a cap designed with them in mind – a visual reminder that they belong in rugby and that their needs matter.
Notably, this project was a by us, for us innovation. Kabeya worked with fellow Black teammates and drew on Black hair-care traditions, claiming space in a sport where Black voices have often been sidelined. As she puts it, “even though it’s such a niche thing for the community, it’s a huge thing for the diversity of the game”. In a historically white, male-dominated arena, a Black woman’s invention is improving the game.
A Symbol of Community and Pride
Today, Kabeya’s satin-lined scrum cap stands as a symbol of care, resistance, and celebration. It represents care by showing that Black athletes shouldn’t have to neglect their well-being to play the sports they love. It embodies quiet resistance by challenging the status quo – instead of Black women conforming to rugby, rugby is adapting to Black women. And it’s a celebration of Black identity: blending a satin bonnet into sporting gear is a joyful union of culture and sport.
The response has been uplifting. Since Kabeya went public with her idea, companies have reached out about making satin scrum caps widely available. Teammates and fans applaud how this invention is knocking down barriers to inclusion in rugby. For the Black community, Kabeya’s scrum cap is a visible reminder that Black joy and excellence belong in every arena.
Kabeya’s journey proves that when we create space for ourselves, we create change for everyone. Her satin scrum cap is already inspiring others to step onto the field with heads held high. This is our game too and we wear our crowns with pride.
BookTok has taken over, Black literature is thriving, and social reading is more popular than ever. If you’re looking for your next great read, we’ve got you covered! Social reading is back, with more people in their twenties taking an interest in books and joining social clubs. Terms like BookTok and Black Reads are trending, so here is all the literary works by Black authors or books featuring characters from the UK, US, and Black stories everywhere the global African diaspora has touched.
So, what is BookTok? BookTok is a vibrant community on TikTok where young people, mostly Gen Z, share their love for books in creative and emotional short videos. Whether it’s dramatic reactions, aesthetic edits, or quickfire recommendations, BookTok has made reading cool again. The platform has helped launch debut authors to stardom, revive older titles, and spotlight diverse stories-all in under a minute.
For Black readers and creators, BookTok has also become a space to uplift stories that centre Blackness in all its forms: joy, love, resistance, imagination, and community.
In this blog, we’ve kindly pulled together some of the best books around. Whether you’re picking up a good habit, reading on your commute, or adding to your growing To Be Read pile, there’s something here for you.
This entry comes just a month after World Book Day , you may have even seen a TikTok with BLAM staff posting to the ‘me then vs me now’ trend including childhood pictures with children’s books they loved reading and recent pictures with books they read now. We will also be exploring recommendations from book clubs like TNSReads, BookTok creators such as John Paul, and other sources of must-read books by Black authors. Let’s dive straight in.
Across Africa, henna has long been a part of celebration, spirituality, and self-expression. For thousands of years, this natural dye – made from the leaves of the Lawsonia inermis plant – has been painted onto the skin during weddings, religious festivals, and other important life events. But today, henna is more than just a tradition from the past. It’s also a symbol of African pride, creativity, and identity.
In many African countries, henna carries deep meaning. It’s not just about beauty – it’s about community, culture, and history. As a young African, I’ve seen how henna continues to inspire new generations. We’re not only keeping it alive; we’re reinventing it. We’re blending tradition with new ideas and turning ancient designs into something bold, fresh, and powerful.
Ancient Roots Across the Continent
Henna has been part of African life for centuries. In Ancient Egypt, it was used to decorate the nails and hair of pharaohs. It was also an important part of burial rituals – a way of honouring the dead and offering spiritual protection. This shows how henna was more than decoration. It was sacred.
As henna spread across North, East, and West Africa through trade, migration, and spiritual exchange, it took on many different styles and meanings. In Mali, henna is known as diabi. Traditionally, it was worn by older women – a sign of wisdom, strength, and cultural pride. Over time, younger women began to wear it too, especially for weddings and ceremonies like baby namings. Today, Malian henna continues to evolve, yet it remains deeply respected as part of the country’s identity.
In Somalia, henna is a major part of cultural life. During weddings, Eid, and Ramadan, women wear henna on their hands, feet, arms, and even necks.
The designs are often floral or triangular, sometimes influenced by styles from the Arabian Peninsula. A small dot in the palm and dyed fingertips are also common.
Somali henna is known for its elegance – and for the beautiful way it brings women together. At pre-wedding henna parties, the bride is surrounded by female friends and relatives. As her hands are painted, the women sing traditional songs and perform the buraanbur, a joyful Somali dance full of rhythm and poetry.
Meaning in Every Line
In West Africa, especially in Mali, the henna application method is unique. Instead of drawing directly on the skin, thin strips are used to block areas where the henna won’t stain. Once the paste is washed off, bold straight-line designs are revealed.
These patterns are striking and symbolic. One common motif is the triangle. When our research team visited Mali, the local women explained that the repeated triangles represent fish scales. Fish are a sign of good fortune and abundance. As the triangles grow larger, they symbolise the hope of catching a bigger fish each time – a beautiful metaphor for growth and prosperity.
There are also new techniques being developed. Artists now arrange straight lines along curved shapes, creating designs that look like leaves or feathers. This innovation was seen at a baby naming ceremony in Bamako, where women wore these delicate, curved patterns as a way of celebrating new life. This is a clear example of how African tradition and creativity go hand in hand.
A New Generation, A New Expression
What inspires me the most is how young Africans are reclaiming and reinventing henna. No longer just something for special occasions, henna is becoming a form of everyday self-expression. It’s appearing in fashion shoots, creative campaigns, and even on social media as a tool for storytelling and identity.
We are not afraid to remix tradition. Some are combining traditional motifs with modern art styles. Others are experimenting with colour, glitter, and temporary tattoo techniques. Yet at its core, it remains a way to stay connected to who we are and where we come from.
In a world that often silences or misunderstands African voices, this is powerful. Wearing henna, and doing so proudly, becomes a quiet form of resistance and a loud form of self-love.
Wearing Culture Loud and Proud
African henna is not stuck in the past – it’s living, breathing, and growing with us. It’s a reminder that our traditions are not just history books – they are living legacies. And we are the storytellers.
So to every young African artist, bride, dancer, or dreamer wearing henna: you are honouring your ancestors and shaping your future. You are proof that tradition and creativity can live side by side. You are showing the world that African culture is bold, beautiful, and here to stay.
Henna is a celebration of identity, heritage, and imagination.
Hidden in the heart of Lagos Island lies a neighbourhood with a powerful story, a place known as the Brazilian Quarter, or Popo Aguda. What makes this area so unique is it’s legacy of a people who were kidnapped and taken across the Atlantic in chains, found freedom, and returned home carrying their memories, culture, identity, and pride.
From Enslavement to Return
During the Trans-Atlantic slave trade, millions of Yoruba people were taken from what is now Nigeria and enslaved in Brazil. Despite facing brutality, they held tightly to their language, religion, and traditions. Cultural survival became an act of resistance.
In the late 1800s, after slavery was abolished in Brazil, many of the Yoruba who had been enslaved, known as Agudas or Emancipados, made the decision to return to Lagos. When they arrived, they brought back stories, skills, spirituality, and a strong sense of community.
Rebuilding Home with Culture.
The returnees didn’t just settle in Lagos, they helped shape it. They built homes and public spaces in the Portuguese-Brazilian style, using architectural techniques they learned in Brazil. From the arched windows and stuccoed walls to the iron balconies and detailed designs, these buildings became a statements, a declaration that the returnees were no longer enslaved and that they were home, and they were proud.
Today, you can still walk through the streets of Popo Aguda and see the legacy in the buildings. Places like the Holy Cross Cathedral and the Brazilian Salvador Mosque, built by these returnees, stand as symbols of unity; both in faith and identity.
Brazilian Salvador MosqueHoly Cross Cathedral
Culture as Resistance
But architecture was just one piece of the puzzle. The returnees also revived and reshaped cultural traditions that have lasted for over a century. Festivals like Caretta and Meboi are still celebrated today, bringing people together across religions.
During Caretta, participants wear bright costumes and masks, dancing through the streets to music, laughter, and joy. Though it began as a Christian festival, it’s now open to everyone; Christians, Muslims, and traditionalists alike.
Meboi honours respected elders and involves parades with horse riders dressed in powerful, symbolic outfits. These celebrations are a reminder that even after centuries of separation, forced migration, and oppression, culture can still live on. In fact, culture becomes a weapon, not of violence, but of survival, strength, and healing.
Unity Through Heritage
The Brazilian Quarter is a beautiful example of how identity can be rebuilt. Despite facing religious differences, poverty, and marginalisation, the community remains united through shared history. Everyone eats the same traditional foods like Frejon on Good Friday. Everyone joins in the street celebrations. Everyone belongs.
The people of Popo Aguda continue to honour their ancestors through their language, clothing, food, and names; many still bearing Brazilian surnames like Da Silva, Martinez, Pedro, and Damazio. In doing so, they preserve a living memory of what their forebears endured and overcame.
A Legacy That Lives On
In recent years, the Brazilian Embassy has recognised the importance of this cultural connection, offering support and even planning to provide Portuguese language lessons in the community. This cross-continental bond is a reminder that the story of the African diaspora doesn’t end in suffering. It continues through celebration, resistance, and return.
The Brazilian Quarter is a living archive, a cultural landmark, and a symbol of resilience. It shows us that even when a people are scattered and oppressed, they can return, rebuild, and rise together.
In a world that often encourages division, this small part of Lagos stands as a reminder of what unity, pride, and heritage can achieve.
To preserve culture is to honour the past, protect the present, and empower the future.
Today, we recognise the global struggle against racism, especially anti-Black racism, and demand that governments take real and meaningful action to end it.
This day is a call to action. A call to build a world where Black communities live free from racism, discrimination, and oppression. A world where we can live in dignity, with justice, equity, and liberation at the core of society.
The History Behind This Day
On 21 March 1960, in Sharpeville, South Africa, police opened fire on a crowd of peaceful Black protestors who were resisting apartheid “pass laws.” These laws were used to control and restrict the movement of Black people in their own land.
Sixty-nine Black lives were taken that day. Many more were injured. The massacre in Sharpeville became a symbol of the brutality of apartheid and the high cost of Black resistance.
In 1966, the United Nations declared 21 March the International Day for the Elimination of Racial Discrimination, born from the struggle to end apartheid. It was a global call to confront and end all forms of racial discrimination.
Racism Has Evolved, But It Has Not Gone
Racial discrimination today may not always look like apartheid or segregation, but it is still deeply systemic and structural. It is a direct legacy of slavery, colonialism, and apartheid. Although these violent systems were formally abolished, the racist structures they created have never been dismantled. They still shape laws, institutions, and everyday life.
From over-policing, health inequalities, and economic exclusion, to discrimination in education and the workplace, Black communities are still denied equality and justice. These inequalities are not accidental. They are the ongoing impacts of historic racial injustices.
Racism and Hate Are Rising – The World Must Respond
Today we are witnessing a disturbing rise in anti-rights and racist rhetoric around the world. In some countries, the very idea of anti-racism is under attack.
In the United States, the Trump administration led assaults on diversity, equity, and inclusion efforts. These attacks are not isolated. They are part of a wider rollback of racial justice efforts and a refusal to address systemic racism.
In the United Kingdom, we are seeing this too. In 2024, white racist mobs rioted across the country, spreading fear and hate. At the same time, we see powerful individuals like Frank Hester, who donated £10 million to the Conservative Party, publicly spewing anti-Black hate. Hester said that seeing Diane Abbott, Britain’s longest-serving Black MP, on television made him “want to hate all Black women.” The fact that someone with such vile views holds influence in politics is unacceptable.
These examples should serve as a wake-up call to governments everywhere. Racism is not just a social issue. It is a crisis of human rights. Governments have a duty to protect people from racial hatred and discrimination. Yet too many are failing to act.
What Should Governments Be Doing?
Governments must take anti-racism seriously. It is not enough to make statements or celebrate this day once a year. Anti-racism must be mainstreamed in all policymaking to ensure equity, equality, and non-discrimination in every part of society.
But for anti-racism to be genuine and lasting, governments must go further. They must redress the ongoing impacts of racism’s historic legacies. This means:
Reparations for slavery, colonialism, and exploitation
Decolonisation of institutions, education, and global systems
Dismantling structures of systemic racism in policing, healthcare, housing, and beyond
Until these steps are taken, racial inequality will remain. Justice requires action. Liberation demands repair.
BLAM UK – We Stand for Truth, Justice, and Black Liberation
At BLAM UK, we stand in truth. We fight for justice. We are unapologetically Black and committed to building a future where Black communities are free, safe, and thriving.
Today, we honour those who resisted, those who continue to fight, and those who dream of a better world. We call on everyone, especially those in power, to act now. Eliminating racial discrimination means transforming society at every level.
The time for words has passed. We demand justice, we demand reparations, and we demand freedom.
These are theatre productions that feature Black narratives, characters, and themes are becoming increasingly visible, offering a richer and more diverse cultural experience for audiences.
With a buzz around plays and an increase in interest from a new age group of people in their 20s and 30s with more accessible and affordable theatre options, 2024 brought us an exciting lineup of plays that showcased Black talent and storytelling, giving us more opportunities to see Black faces on the stage.
Yes, Many are familiar with long-standing productions like Hamilton and The Lion King on the London scene, but last year introduced us to powerful new works we collectively experienced: For Black Boys Who Have Considered Suicide When the Hue Gets Too heavy by Ryan Calais Cameron, a play that made us cry and smile, showcasing a large range of emotions as we journeyed with five Black men in group therapy sharing their stories. Shifters by Benedict Lombe was a love story like no other, where we fell in love with the actors as we follows two old flames reuniting at a funeral and reliving their story.
My Father’s Fable, which showed at the Bush Theatre; Sylvia by Kate Prince, Priya Parmar, and Josh Cohen, a musical compared to and often labelled the UK’s version of Hamilton; and Barbershop by Inua Ellams , which showed at the National Theatre, telling the story of a group of men advising and sharing stories with a young boy at a barbershop. Tambo & Bones, written by Dave Harris, shown at Stratford East, at 16 TH Jun – 15th Jul 2023) Described as a funny firthy and gleeful satire about the African American male experience. A provocative and darkly comedic look at race, capitalism, and survival in modern America.
Notable, Significant milestones continue to be achieved in Black theatre, with productions like A Raisin in the Sun by Lorraine Hansberry—the first play by a Black woman to debut in the West End—paving the way for greater representation on stage.
As we step into 2025, a new wave of Black theatre is set to captivate audiences once again. Here are the must-watch productions for this year:
A Good House:written by [Amy Jephta], shown at the Royal Court Theatre, A Good House is at the Royal Court Theatre from 11th January until 8th February 2025.A funny, thrilling, and provocative play exploring race, resentment and community politics from a leading South African playwright.
Retrograde:, written by Ryan Calais Cameron, is showing at the Apollo Theatre in London from March 8th to June 14th, 2025, following a sold-out run at the Kiln Theatre.This gripping drama captures the moment a young Sidney Poitier prepares to sign a career-defining Hollywood contract that could make him a star.
Play On!, an adaptation of Shakespeare’s Twelfth Night, directed by Michael Buffong, shown at the Lyric Hammersmith, is set in the jazz scene of New York’s Cotton Club. This stylish production is part of Talawa’s Black Joy season.
MoreLife: Is a sci-fi gothic horror, by Lauren Mooney and James Yeatman, is set in a future where pain and death are going rapidly out of date., shown at the Royal Court Theatre, The production runs from Thursday 6 February to Saturday 8 March 2025, with press night on Wednesday 12 February 2025.
Twin Bound:, Presented by Déviniat Adedibu, shown as a one-night production at the Camden People’s Theatre, (19 March 2025) After one is humiliated at a Nigerian wedding, twin siblings, Kayode and Simi, address their differences in the matter twins raced in a nigerian household Pressure of gender based impact in the way they live and How they are treated as Son and Daughter, what being in your mid-20’s looks like in the midst of gender comparison, womanhood and traditions of the home.
The Secret Lives of Baba Segi’s Wives:, adapted by Rotimi Babatunde from the novel by Lola Shoneyin Directed by Femi Elufowoju , shown at the Arcola Theatre (26 Apr – 31 May 2025)
A gripping drama uncovering hidden truths in a polygamous Nigerian household. “Men are like yam, you cut them how you like” (This is a book adaptation;checkout our Black Must Reads blog for other book suggestions being adapted this year.)
Alterations, written by Michael Abbensetts ,this award-winning writer, the reinvigorated version of his seminal work illuminates the Guyanese experience of 1970s London and the aspirations and sacrifices of the Windrush generation. shown at the National Theatre. (February 20th till April 5th)
‘Is that what you want? To be an underdog all your life?“This play follows Walker Holt’ played by Arinze Kene a tailor with a shop and big dreams. It exposes the true price of his success. This is the largest staging for this play so far.
The Women of Llankumey, written by Azuka Oforka’s, shown at Stratford East, (WED 19 MAR – SAT 12 APR 2025) it has a running time of 2hours and 15 minutes with disability frendly access perfomances oon specific date including BSL on THU 10th of April at 7:30pm, Trauma warning this film does depict Slavery but the age guidance is for 12+: Annie and Cerys are enslaved by the Morgan family from Wales. Their future hangs in the balance when Elizabeth Morgan is faced with losing her plantation. Explores the experience of women during slavery – those who benefited from it, those who were brutalised by it, and those who fought to destroy it. Putting Wales’s role in slavery centre stage; illuminating a hidden chapter of British history.
Cymbeline, written by William Shakespeare, shown at Shakespeare’s Globe Theatre (March 14th to April 20th, 2025). Shakespeare’s Cymbeline weaves a tale of deception, seduction, and reconciliation while exploring female leadership and the nature vs. nurture debate. The running time is 2 hours. Cymbeline | What’s On | Shakespeare’s Globe
Lavender, Hyacinth, Violet, Yew, written by Coral Wyli and directed by Debbie Hannan, shown at the Bush Theatre (8th of Feb till 22nd of March 2025), is a play about PIP a non-binary teenager’s journey of self-discovery through gardening and memories of a deceased family friend, Duncan, and the impact of the AIDS crisis on their family.
The Lonely Londoner, Roy williams adaptation on Sam Selvon’s 1956 novel, shown at the Kiln Theatre, Starting date the 10th of feb till the 22nf Febuary although it no longer runnin i though it worth a mention.Newly arrived from Trinidad, Henry ‘Sir Galahad’ Oliver is impatient to start his new life in London. Carrying just pyjamas and a toothbrush, he bursts through Moses Aloetta’s door only to find Moses and his friends already soured on city life.
Little Brother, at the Jermyn Street Theatre, 15 May — 21 June. In Guinea, West Africa, Ibrahima discovers that his little brother has secretly run away from school and is heading to Europe. Ibrahima drops everything to go after him, setting off on the migrant routes of the Sahara towards the Mediterranean.
Black Is the Color of My Voice, written by Apphia Campbell, shown at Wilton’s Music Hall in London from March 13 to 15, 2025 But dont work if you miss thoses dates because The show has a tour that includes dates in Bromley, Dunstable, Worcester, Truro, Torrington, Mold, and Birmingham .The play is inspired by the life of Nina Simone and features many of her iconic songs performed live: Black is the Color of My Voice – Wilton’s Music Hall
The Purist, written by Dan McCabe, shown at the Kiln Theatre, (Sold out Dates) (with a hip-hop themed menu and free exhibit at entrance)
Providers: By Ambeen Razia, showing at Brixton House showing on the 28th – 29th of March, also touring london schools. A raw and gripping story set in South London, following two siblings and two friends as they navigate survival, family, and the weight of responsibility. With the cost of living rising and no parents around, Mia and Saleem find a new way to make ends meet.
Taking a look at the tough choices we make and true resilience, and what it really means to provide.Providers – Brixton House
Rhinoceros, written by Eugène Ionesco, shown at the Almeida Theatre (25 March to 26 April 2025) This play casts some amazing talented black actors, including BAFTA nomeniee Sope Dirisu, follows the story:
A ballet called Shadow by Black presents, which is an adaptation of the book ‘My sister the Serial Killer a book featured in our Black Current reads blog and Instagram post.
I am excited to see these performances, most notably the ones released this month they will also be featured on our Instagram feed so feel free to interact with the posts and comment, on which shows you are most excited to see or your favorite Theatre show you’ve watched recently.
Access and affordability to Black theatre:
There are a few programs helping to provide access to theatre shows, and we suggest you connect to find good offers on tickets or where you can exchange reviews and engage socially around similar topics of interest
The Rendition:
This is a space created by Shore Yewande Connecting audiences to Black theatre in the UK by offering reviews, discounts, interviews
TIX Today is a great app and website for booking theater tickets on the day.
Buying rush tickets, they tend to retail at £20 or £30. Enter lottery tickets or wait for online sales These amazing deals are targeted at young people in their 20s.
Storytelling is a bridge between generations, a vessel for history, and a powerful tool of cultural preservation. In Africa, storytelling has long been the foundation of knowledge transfer, shaping identities and reinforcing values through oral traditions. Now, with Iyanu: Child of Wonder, a groundbreaking animated series deeply rooted in Yoruba mythology, African storytelling is reaching new heights.
It is the continuation of a tradition that dates back to the Griots of West Africa, the Izimbongi of Southern Africa, and the praise poets of East Africa. With Disney’s Iwájú also set to redefine Afrofuturism on screen, the world is finally waking up to the richness of African storytelling.
Oral Traditions: Africa’s Living Library
Long before the written word, African societies preserved their histories, beliefs, and wisdom through oral traditions. Griots in West Africa were custodians of memory, passing down the genealogies of kings/Queens and the triumphs of empires through spoken word and song. In Nigeria, Igbo elders used proverbs to teach moral values, embedding lessons in narratives that guided entire communities.
Folktales like Anansi the Spider, a trickster from Ashanti folklore, travelled across the Atlantic with enslaved Africans, shaping the oral traditions of the Caribbean and the Americas. Myths and epic narratives, such as the Epic of Sundiata, preserved the legacies of great African leaders, ensuring that their stories would not be lost to time.
Can you see that African oral traditions are about survival. They protected history in the absence of written records, they strengthened cultural identity, and they ensured that no empire, no colonial force, no oppression could erase the richness of African heritage.
Reclaiming African Stories Through Animation.
For centuries, mainstream media has sidelined or distorted African stories. Black children have grown up without heroes that look like them, their histories either erased or misrepresented. Western animation has long dominated the industry, failing to acknowledge the mythologies, legends, and folklore that have shaped African cultures for millennia.
But now, Iyanu: Child of Wonder is rewriting the narrative.
Set in Yorubaland, it embraces Yoruba mythology, a tradition of gods, orishas, and divine forces that predates many of the world’s mainstream mythologies.
Iyanu’s powers are drawn from African spiritual traditions, not Western fantasy.
The series is created by Africans, for a global audience, ensuring authenticity in its storytelling.
This is representation done right. When Black children see themselves as heroes, when they hear stories inspired by their own cultures, they are empowered. They see that their histories are not forgotten.
The Future of African Storytelling: A Digital Renaissance.
For centuries, African storytelling has thrived, adapting to each new era while remaining deeply rooted in its traditions. The griots who once spoke history into existence under the night sky now share their narratives through books, films, podcasts, and digital platforms. African storytelling has never been static—it evolves, grows, and finds new ways to reach the world.
Now, animation is the next frontier. The rise of African animation is more than just entertainment; it is an act of cultural preservation and reclamation. It is the fusion of ancestral knowledge and cutting-edge technology, ensuring that African stories are not only told but celebrated on a global stage.
Iyanu: Child of Wonder is a turning point, blending Yoruba mythology with modern animation to create a hero that Black children everywhere can look up to.
Iwájú, an Afrofuturist tale set in a technologically advanced Lagos, marks another milestone in mainstream recognition of African narratives.
Afrofuturism, digital storytelling, and animation are carving out a new space for African voices, ensuring our stories reach every corner of the world.
This is a cultural shift. The world is waking up to the richness of African storytelling, and this is just the beginning. No longer confined to the past, no longer silenced—African stories are here, bold, powerful, and unstoppable.
The question is no longer whether the world is ready for African storytelling.
Ife Thompson, of Nexus Chambers was instructed by Ghislaine Sandoval of Hodge Jones and Allen.
A recent university student of good character, Jamila A (22 years old), is no longer facing prosecution after the Crown Prosecution Service (CPS) discontinued the matter citing that there is not enough evidence to provide a realistic prospect of conviction.
Jamila A had been charged under s.127 of the Communications Act 2003 for allegedly using obscene communications after responding to a tweet on 27 August 2023 from another Black person in the USA with the African American Vernacular English (‘AAVE’) /Black British English (‘BBE’) term “Nigga”. Jamila A’s tweet was picked up by a data monitoring organisation.
The Defence Case
Discontinuance of the matter was preceded by two letters of representations submitted to the CPS, one a total of 23 pages, arguing that the matter did not pass the evidential or public interest stage of the test required to prosecute someone. A lengthy Defence Case Statement was also served which set out 19 disclosure requests the Defence required of he CPS not limited to but including whether various parties had consulted their equality and diversity team/s about the nature of the use of the word “Nigga” and whether a black person would find this offensive. A few of the points highlighted are noted below:
Jamila A is a fluent Black-British English speaker, and her use of the term “Nigga” was a fundamental part of her language practice;
The prosecution disproportionately interfered with her rights under Article 10 of the European Convention of Human Rights (‘ECHR’) to Freedom of Expression and right to use language from her culture which should be protected from discrimination under Article 10, read in conjunction of Article 14 of the ECHR;
The case placed undue stress and anxiety on Jamila A by prolonging proceedings unnecessarily;
The CPS’s failure to consider the cultural and linguistic context of her speech, reinforces anti-Black linguistic discrimination and raises concerns about its compliance with Section 149 of the Equality Act 2010;
No evidence of any party finding the Tweet offensive, indecent, obscene or menacing had been provided;
A pro-bono research comment on AAVE by Dr April Baker Bell noting “The term nigga is a linguistic reappropriation of the racial slur nigger, which was a derogatory term that started being used by white Americans in the nineteenth toward Black Americans to express hatred, bigotry, and anti-Black racism. Because the term nigger is a racialized epithet within the broader American English lexicon, the reappropriation of the term by AAVE speakers is often misunderstood by non-members of the Black speech community. When used by AAVE speakers, the term has a different pronunciation (postvocalic -r deletion rule), a different spelling (nigga vs nigger), and a variety of meanings.”
Despite these detailed representations sent in August 2024 and further ones sent in January 2025, the Crown still proceeded with the case.
Adjournment & Case Review
Just before the second trial listing, the Crown urgently requested an adjournment to further review whether they would proceed with the prosecution after the Defence Case Statement had been submitted.
The Defence raised concerns in the Defence Case Statement that Jamila was originally charged under section 1(1)(a) and (4) of the Malicious Communications Act 1988. An ‘amended charge’ was served on 01/08/2024 changing the charge from an either way (offence which can be heard before a jury in the Crown Court) to a summary only offence (which can only be dealt with by the Magistrates’ Court) under section 127(1)(a) and (3) of the Communications Act 2003 outside of the 6 month time limit. It is important to note that this change of charge took place following the Independent’s article dated 22 July 2024 raising concerns that a “Black woman has been charged after using the n-word in a tweet to another Black woman”. The conclusion of the article states “The article was amended on 24 July 2024 to attribute to the CPS details of the act under which it said Ms Abdi had been charged” however no amended charge had been brought to the attention of the Defence until it was uploaded to the Court evidence system on 01 August 2024 therefore it appears a news outlet were informed of an intention to change the charge prior to the Defence. The Defence made it clear that it was their intention to make an abuse of process application as part of pre-trial legal arguments if the matter was to proceed. Jamila was denied the choice of a jury trial as a result of the change in charge and the conduct of the Crown brings the integrity of the justice system into disrepute.
The District Judge granted the adjournment, “noting that there were serious issues of fact and law with the case and that it is appropriate and necessary for the Crown to review its position in light of the Defence statement.”
On 5th March 2025, the Crown formally wrote to the Defence, confirming that they would no longer be proceeding with the charges against Jamila A. Ife Thompson, who led the defence, worked extensively to instruct linguistic and cultural experts to protect and uphold Jamila A’s linguistic rights. The expert reports were served on both the Crown and the Court in preparation for the trial.
Expert Analysis Summary
Three experts provided analysis supporting that Jamila A’s use of the term “Nigga” was rooted in Black linguistic and cultural practices rather than being an offensive/obscene. In short:
● Dr Dominique Branson (USA-based AAVE linguist) emphasised that language interpretation belongs to the speech community. She noted that Jamila A’s identity as a Black person and acceptance of the term within her social network aligned with broader linguistic research, confirming that her usage was consistent with AAVE norms; ● Dr Ian Cushing (UK-based linguist, specialist in Black British English) highlighted that “Nigga” has been widely used in Black British English (BBE) since the rise of hip-hop in the 1980s, particularly in London. He pointed to sociolinguistic research showing its role in expressing Black identity and solidarity. He also referenced the Aston University Institute for Forensic Linguistics, which classifies the term as neutral or affectionate in many contexts; and ● Adele Oliver (Rap and Drill Expert) underscored the term’s deep integration into UK and US rap music. She argued that rap has facilitated intra-community appropriation of “nigga,” shaping its meaning across the Black diaspora. While the term can be an expletive, its usage within Black communities carries cultural significance beyond its historically offensive connotations.
Statement from Jamila’s barrister, Ife Thompson
“This case raises serious concerns about how the CPS and police are unfairly and inappropriately criminalising Black language speakers. Like many other cases, it highlights the urgent need to review how charging decisions can reinforce and perpetuate anti-Black linguistic racism and discrimination.
The mainstream ‘colourblind’ approach to racism ignores the nuances of Black identity, leading to discriminatory outcomes like this one. The case also raises questions about the use of processes and procedures in content moderation.
This victory is a step towards ensuring the CPS and police recognise Black languages like AAVE and BBE and adopt a more culturally nuanced and human rights-centred approach to such cases in the future.”
Statement from Jamila’s solicitor, Ghislaine Sandoval
“We are delighted that the right decision has finally been taken to discontinue this case against a young Black woman of good character. However, Jamila should never have been charged in the first place.
Black people are the most overrepresented of all ethnic minorities in the criminal justice system. Dr Cushing’s report raised that “Black language is misinterpreted and misunderstood” and “young Black girls in particular have their language and literacy practices called into question. This happens in all social contexts, from classrooms to workplaces to online spaces.”
It is clear that Black language rights, particularly those of young Black women, are being disproportionately violated by the state and their Human Rights are not being properly protected or applied. Free speech by people of colour is being over policed and over criminalised, there is a lack of cultural understanding and awareness of the language and how it is used by diverse communities.
Unfortunately, the result cannot give Jamila the time she has spent subject to the stress and anxiety of these proceedings back, which had been hanging over her head for over a year. Our team fought tirelessly for a case which should not have made it to Court.”
Statement from the accused, Jamila A
“This past year and a half has been incredibly stressful. This case has shown the immense racism that is in our legal system. I was being prosecuted for speaking in a way that comes natural to me as a Black woman and is widely accepted within my community. It is absurd that the CPS continue to criminalise and prosecute black people for existing their cultural and linguistic realities and while I am relieved that the case is over, I know I wont get back the time that I have lost worrying about this case.
I cannot express enough my gratitude to my incredible legal team; Ife Thompson and Ghislaine Sandoval who fought tirelessly on this case when I felt powerless. Their dedication, expertise and their unwavering belief in my right to justice got us this result today. I also want to thank the team behind the Justice for Jamila A campaign who have supported me massively through this case. Their solidarity, advocacy and refusal to stay silent made all the difference. While this has been a difficult journey, I am reminded how important community and collective action are powerful forces for change.
This is not just about me. Black people, particularly young black men and women, are disproportionately targeted, policed and punished for the ways we speak regardless of the setting. It’s unacceptable that our cultural expressions are seen as threats that need to be punished while others’ are normalised. This case is a stark reminder of the ongoing racial bias embedded in institutional that claim to serve justice.”
Jamilia A was supported by the Justice For Jamila A Campaign, a coalition of community groups including Black Lives Matter UK, Sisters Uncut, 4Front, Art Not Evidence and BLAM UK, activists and human rights defenders.
History is not a passive recollection of the past; it is a force that shapes the present and determines the future. Senegal, a nation once at the heart of France’s colonial empire, is now leading the movement to reclaim its sovereignty and reject the lingering grip of colonialism. Under the leadership of President Bassirou Diomaye Faye, Senegal is undergoing a radical transformation. Renaming streets, rewriting textbooks, cutting military ties with France, and challenging foreign economic control.
At the centre of this revolution stands Lat Dior Ngoné Latyr Diop, the legendary warrior-king of Cayor, who waged an unrelenting struggle against French imperialism in the 19th century. His fight, which cost him his life, was not just against military occupation but against the complete erasure of Senegalese sovereignty and identity. Today, as Senegal honours Lat Dior with a monument in his name, his spirit of resistance is being revived in a new generation of Senegalese leaders who are refusing to be pawns in the hands of Western powers.
But this is not just Senegal’s fight. Across West and Central Africa, former French colonies are rising up against the remnants of Francafrique, the system of French control that has long dictated economic and political affairs in its former colonies. From Mali to Burkina Faso, Niger to Chad, African nations are reclaiming their independence in a way that directly aligns with Frantz Fanon’s theory of decolonisation.
Lat Dior: The Warrior King Who Defied France.
Born in 1842 in Keur Amadou Yalla, Lat Dior was a ruler and the embodiment of Senegalese resistance against French colonial expansion. As the leader of Cayor, he refused to bow to European encroachment and fiercely opposed the construction of the Dakar-Saint Louis railway, which he recognised as a tool of colonial domination.
He understood that infrastructure projects like these were not intended for the benefit of Africans but were designed to facilitate the extraction of resources, consolidate military power, and entrench French rule.
Lat Dior’s resistance was political but deeply spiritual. As a devout Muslim, he built alliances with influential religious figures like El Hadj Oumar Tall and Ahmadou Bamba, believing that the fight for sovereignty was as much about cultural and spiritual liberation as it was about military struggle. His defiance made him a direct target of the French, and in 1886, he was assassinated by colonial forces. Yet, his death did not mark the end of the struggle—it became a rallying cry for future generations who continued to resist European rule.
In December 2024, President Faye honoured Lat Dior’s legacy by inaugurating a statue in his name, declaring that history is not merely something to be remembered but a guide for shaping a new Senegal. This act was about commemorating the past and a clear political statement. By restoring Lat Dior’s place in national memory, Senegal is rejecting the colonial narratives that once sought to erase him.
The Fall of Francafrique—Senegal and the Revolt Against Neocolonialism.
For decades, France has maintained an iron grip over its former African colonies through Francafrique, a system of political, economic, and military control that kept African nations dependent and subservient. Even after so-called independence, France retained strategic military bases, controlled natural resources, and imposed economic policies that prioritised its own interests over those of the African people.
But that era is coming to an end. Senegal has now joined a wave of nations that are rejecting French domination. In 2024, President Faye called for the withdrawal of French troops from Senegal, following in the footsteps of Mali, Burkina Faso, Niger, and Chad, all of whom have expelled French military forces in recent years.
This was a diplomatic move and a declaration of true sovereignty. The timing was deliberate, on the 80th anniversary of the Thiaroye massacre, when French colonial forces slaughtered West African soldiers who had fought for France in World War II, Senegal made it clear that it would no longer tolerate foreign military occupation.This is a reflection of the growing consciousness among African citizens who refuse to accept neocolonial control any longer.
Senegal as a Case Study in Fanon’s Theory.
Frantz Fanon, in The Wretched of the Earth, articulated the psychological and structural dimensions of decolonisation.
He argued that true liberation requires not just political independence but the complete rejection of colonial values and the construction of an entirely new national consciousness. Senegal’s decolonial movement is a direct embodiment of Fanon’s philosophy.
Fanon warned against the dangers of colonial assimilation, where the colonised internalise the values of their oppressors and continue to function within a system that was never designed to serve them.
Senegal’s efforts to remove French names from public spaces, rewrite history textbooks, and celebrate African resistance figures represent a rejection of European narratives. This is the beginning of a new historical consciousness, one that is written by and for Africans.
Fanon also stressed the importance of unity among the colonised. Senegal’s actions are not occurring in isolation but as part of a broader Pan-African movement that is sweeping across Francophone Africa. By standing in solidarity with Mali, Burkina Faso, Niger, and Chad, Senegal is reinforcing Fanon’s argument that decolonisation cannot be a nationalistic struggle alone; it must be a collective, continental movement against imperialism.
Most importantly, Fanon believed that decolonisation was about restoring the dignity of the colonised. For too long, African nations have been made to believe that they cannot survive without the guidance of Western powers. By cutting military ties, questioning the CFA franc, and demanding reparations for colonial atrocities, Senegal is rejecting this falsehood. It is asserting that Africa does not need Europe to determine its destiny.
The Next Step: Economic Liberation.
Fanon was clear: political independence without economic autonomy is meaningless. Colonialism did not end with the departure of European administrators—it evolved into economic control, where African nations remained trapped in a system that prioritised Western profits over African development.
Senegal is now taking the first steps toward breaking free from economic neocolonialism. President Faye’s administration has raised the question of the CFA franc, a currency controlled by France that continues to dictate monetary policy in 14 African nations. While full departure from this system has yet to be realised, the conversation itself is significant. The government is also reviewing foreign business contracts to ensure that Senegal’s resources benefit its people rather than multinational corporations.
The road to full economic sovereignty will not be easy. Western institutions such as the World Bank and the IMF continue to exert control over African economies through debt and structural adjustment programs. But Senegal’s willingness to challenge the status quo is a step in the right direction. It is a reminder that decolonisation is not a single event but an ongoing process of dismantling all structures of oppression.
The Future is Decolonised
Fanon warned us that the fight against colonialism would not end with independence declarations. The real struggle is in ensuring that African nations do not become mere extensions of their former colonisers. Senegal is proving that decolonisation is a living revolution. The question now is, WHO IS NEXT?
BLAM UK CIC 