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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Protecting Our Crowns: Sadia Kabeya’s Satin Scrum Cap Is Changing the Game

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.

@bbcsport

“Why not create something that can knock down a barrier?” ❤️ England back row Sadia Kabeya on her satin scrum cap 🧢 #Rugby #EnglandRugby #RedRoses #W6N

♬ original sound – BBC Sport

Black Innovation and Representation

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.

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Your Guide to the Best Books by Black Authors.

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.

@blamuk_charity

See if you can guess which BLAM member these little bookworms grew up to be …. Celebrating world book day (comment your favourite book)#booktokfyp #worldbookday #blkbooktok #bellhooks #jacqulinewilsonbooks #benjaminZephaniah #hotgirlsread #allgrownup #methenvsmenow #bookworm #globalbookday #booktok

♬ Don’t Play With Me – Gabzy
BLAM UK’S me then vs me now TIKTOK video.

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.

Click here for our full reading list:

Current reads list (1)Download
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Henna Is How We Wear Our Roots

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.

And we are just getting started.

The Brazilian Quarter: A Story of Return, Resilience and Cultural Unity.

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 Mosque
Holy 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.

Continue reading “The Brazilian Quarter: A Story of Return, Resilience and Cultural Unity.”

Did You Know Today Is the International Day for the Elimination of Racial Discrimination?

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.

Black Theatre Shows

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.

Buy here: https://royalcourttheatre.com/whats-on/a-good-house/

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.

Book Tickets here: https://nimaxtheatres.queue-it.net/?c=nimaxtheatres&e=apret01mq

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.

Don’t miss out, it’s sure to be amazing book tickets here:Play On! – Lyric Hammersmith

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.

Book tickets here:More Life – Royal Court

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.

Tickets available here: TwinBond. | Camden People’s Theatre

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.) 

Book tickets here: The Secret Lives of Baba Segi’s Wives – Arcola Theatre

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.

Book Tickets here: Archive Unboxed: Alterations at the National Theatre | National Theatre

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. 

Book tickets here:The Women of Llanrumney

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.

Lavender, Hyacinth, Violet, Yew | Bush Theatre

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.

Will the London fog dampen Galahad’s dreams? The Lonely Londoners | Kiln Theatre

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.

Little Brother | Jermyn Street Theatre

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)

The Purists | Kiln Theatre

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:

Rhinoceros | Almeida Theatre

After note

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

Click here: https://www.instagram.com/the.rendition?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== 

“Go Live Theatre: https://www.instagram.com/golivetheatre?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

Get Discounts:

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.

Written by Pamilerin Thompson

Iyanu: Child of Wonder and the Legacy of African Storytelling

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.

The question is: are you ready to listen?