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?
A Tribute to Those We Have Lost in 2024: Our Pioneers, Artists, and Heroes
As we reflect on the year 2024, we lovingly honour the extraordinary lives of those who have left us. These were individuals whose voices became our safe havens, whose courage sparked movements, and whose creativity enriched our shared Experienced. Their legacies remain a guiding light, reminding us of the enduring power of resilience, art, and activism. Today, we warmly pay tribute to these remarkable figures:
Darcus Howe (1943–2017) Although he passed away in 2017, Darcus Howe’s influence still echoes profoundly today. A civil rights activist, writer, and broadcaster, Howe was a pivotal member of the British Black Panthers. He fearlessly stood against racial injustice, organising the 1981 Black People’s March following the New Cross fire—a heart-breaking event that claimed 13 young Black lives. His unwavering voice championed justice and equality, paving the way for greater awareness of systemic inequalities across Britain.
Benjamin Zephaniah (1958–2023)
A renowned British poet, writer, and political activist, Benjamin Zephaniah was celebrated for his profound works addressing social justice, racism, and other pressing political themes. Known for his distinctive voice and ability to weave powerful stories through poetry, he inspired generations to think critically about society and their role within it. Zephaniah passed away in December 2023 at the age of 65, leaving behind a body of work that continues to challenge, enlighten, and uplift.
Nadia Cattouse (1924–2024)
Born in British Honduras (now Belize), Nadia Cattouse was a trailblazer whose life was a gift to all she touched. An actress, folk singer, and activist, she played a pivotal role in the 1960s folk revival, all while amplifying the voices of Caribbean immigrants in the UK. Her songs and activism celebrated identity, belonging, and the relentless fight for equality. Nadia’s century-long journey, marked by grace and artistry, came to a close just days before her 100th birthday, leaving a legacy as vibrant as her melodies.
Paul Stephenson (1937–2024) A towering figure in Britain’s civil rights movement, Paul Stephenson’s steadfast commitment to challenging racial discrimination changed the course of history. He was instrumental in the 1963 Bristol Bus Boycott, a landmark protest against the exclusion of Black and Asian workers by the Bristol Omnibus Company. His unwavering advocacy played a crucial role in the creation of the Race Relations Act of 1965, a groundbreaking step towards racial equality in the UK. Paul’s life was a testament to the power of collective action and courageous determination.
Faith Ringgold (1930–2024) Faith Ringgold was an award-winning artist and author whose work knew no boundaries. Through her richly coloured quilts, which intertwined painting, textiles, and storytelling, she forged a unique medium to address themes of social justice, civil rights, and Black womanhood. Faith’s art shattered barriers for Black female artists, and her narratives continue to inspire countless generations. She passed away at the age of 93, leaving behind an enduring legacy of creativity and activism that remains a source of hope and pride.
Yolande Cornelia “Nikki” Giovanni Jr.
A literary icon whose words have deeply shaped the cultural landscape, Nikki Giovanni stands as a voice of warmth and wisdom. A proud alumnus of Fisk University, her work explores a broad spectrum of themes, from space travel and love to racism and mortality. Her remarkable ability to capture the struggles and triumphs of life has made her an enduring figure in global literature. While she continues to inspire us through her spirit and influence, her contributions have left an indelible mark on hearts and minds everywhere.
As we bid farewell to these pioneers, artists, and heroes, we celebrate their lives with gratitude and affection. They fought tirelessly for justice, gave voice to the inexpressible, and opened doors for future generations to dream and thrive. Their legacies are woven into the fabric of our shared history, and their voices will forever guide us forward with love and hope.
BLAM UK (Black Learning Achievement and Mental Health) has released a groundbreaking report exposing the UK education system’s failure to address racial discrimination, colourism, and the erasure of Black history from the curriculum.
The report, “Implementing the UK’s Obligation to Combat Prejudices Leading to Racial Discrimination in Education,” highlights how Black students face institutional racism, biased discipline policies, and teachers unequipped to challenge racial prejudice.
KEY FINDINGS:
Teachers lack racial literacy – Many educators have no formal training in understanding race and racism, leading to racial bias in assessments, discipline, and student interactions.
Curriculum whitewashing – Black history is either ignored or framed solely through trauma narratives such as slavery and the civil rights movement, failing to celebrate Black excellence and contributions.
Colourism remains unchallenged – Schools fail to educate students on skin tone discrimination, which perpetuates harmful biases within Black communities and wider society.
Racist school policies – Black students are disproportionately punished, excluded, and even criminalised through strict behavioural policies, including bans on Afro hairstyles and Black British English.
“SCHOOLS ARE TEACHING IGNORANCE”
BLAM UK’s research exposes a deeply flawed education system that continues to centre whiteness while punishing Black identity. Black children are being failed—both in the content they learn and the way they are treated in classrooms.
“The UK government has an obligation under international human rights law to tackle racial prejudice in education,” says BLAM UK. “Yet, schools are not only failing to challenge racism, but are actively upholding it through biased policies and a curriculum that erases Black contributions.”
WHAT NEEDS TO CHANGE?
BLAM UK is calling for:
A decolonised curriculum that fully integrates Black history across all subjects, rather than relegating it to Black History Month.
Mandatory racial literacy training for teachers to ensure they can challenge racism rather than reinforce it.
An end to racist school policies that police Black students’ hair, language, and identity.
Recognition of colourism within the school system and proactive measures to dismantle it.
JOIN THE MOVEMENT FOR CHANGE
This report is a wake-up call. The UK cannot claim to be an inclusive society while its education system continues to uphold systemic racism.
In a world where cultural traditions are increasingly under threat, movements for resistance and preservation are more vital than ever. At BLAM UK, we stand in unwavering solidarity with the struggles faced by communities in Africa, the Caribbean, South America, and across the African diaspora. These struggles, rooted in a shared history of colonisation and ongoing inequality, call for collective action to challenge systemic oppression, reclaim cultural identities, and ensure that the stories of our communities are not lost to time.
Colonisation and Its Legacy: A Global Struggle
The scars of colonisation run deep. From the Caribbean islands to the African continent, the legacies of foreign rule continue to shape the realities of millions. Countries like Puerto Rico (U.S.), Martinique (France), Guadeloupe (France), Curaçao (Netherlands), and Bermuda (UK) remain tied to former colonial powers, grappling with economic dependence and the erosion of cultural practices. In Puerto Rico, the struggles of gentrification and displacement—highlighted powerfully in Bad Bunny’s album Debí Tirar Más Fotos—mirror the experiences of communities across the diaspora.
The track Lo Que Le Pasó A Hawaii delivers a particularly poignant critique of these shared struggles. Through vivid lyrics like “They want to take away my river and also my beach. They want my neighbourhood and for your children to leave”, Bad Bunny captures the devastation of gentrification, displacement, and cultural erosion.
The song draws painful parallels between Puerto Rico and Hawaii, two islands rich in cultural heritage but deeply scarred by colonisation and exploitation. It is a rallying cry not just for Puerto Rico, but for the entire Caribbean and the broader diaspora, urging communities to resist the forces that threaten their lands, traditions, and identities.
Across the Caribbean, this message resonates. In Jamaica, for example, less than 1% of beaches remain accessible to the public due to land privatisation. Locals are often locked out of spaces vital to their livelihoods and leisure as resorts for wealthy tourists dominate the coastline. This shared struggle unites communities across the diaspora, reminding us that the fight for cultural preservation and justice is one we must face together.
Resistance Through Music: A Tradition of Defiance
Music has always been a powerful tool for resistance. In Debí Tirar Más Fotos, Bad Bunny revitalises Puerto Rican traditions like plena, a genre born from working-class struggles and African musical heritage.
Historically, plena served as a voice for the oppressed, spreading news and challenging colonial power structures. By blending plena with reggaeton, Bad Bunny bridges the past and present, showcasing how heritage can inspire modern activism.
This tradition of resistance through music is not unique to Puerto Rico. Across the diaspora, artists have used their platforms to uplift marginalised communities and fight systemic oppression.
From Bob Marley’s Get Up, Stand Upto Fela Kuti’s Beast of No Nation, music has given voice to the voiceless, serving as both a form of cultural preservation and a catalyst for change.
Preserving Memories, Telling Our Stories
At the heart of cultural preservation lies storytelling—the act of remembering, documenting, and sharing experiences. Bad Bunny’s album title, I Should’ve Taken More Photos, speaks to the urgency of this task. Memories, like traditions, are fragile. They can fade under the weight of displacement, gentrification, and the pressures of modernity. But through music, film, and community activism, we can resist this erasure.
The struggles faced by Puerto Rico, Jamaica, and countless other communities are not isolated—they are interconnected. From the privatisation of beaches in the Caribbean to the displacement of communities in Africa and the fight for indigenous land rights in South America, the forces of exploitation and inequality know no borders.
BLAM UK stands with these movements, championing the resilience of the African diaspora and advocating for the preservation of our shared cultural heritage. By challenging inequality and celebrating the richness of our traditions, we can create a future where no community is left behind.
As Christmas approaches on 25th December for much of the world, let us turn our attention to Ethiopia, a nation where Christmas or Ganna, as it is called, is celebrated on 7th January. But Ganna isn’t just a festive day on the Ethiopian calendar. It’s a powerful reminder of Africa’s central role in the origins of Christianity and a celebration of the rich traditions that thrive to this day.
Have you ever considered how Christianity is often depicted as a European religion? Let’s challenge that. Ethiopia was among the very first nations in the world and the first in Africa to embrace Christianity as its state religion in the 4th century, centuries before Europe. The Kingdom of Aksum’s early conversion under King Ezana positions Ethiopia not at the margins of Christianity but at its core. Isn’t it time we decolonised our understanding of the faith?
Ethiopia: A Cornerstone of Christianity
Ethiopia’s Christian history is extraordinary. While much of Europe was still practising pagan traditions, the Kingdom of Aksum boldly adopted Christianity as its official state religion. This monumental decision came long before the Roman Empire’s full conversion and even longer before the spread of Christianity to the UK. Aksum’s choice reminds us that Africa was a leader in shaping the Christian world, not a passive recipient.
The legacy of this decision can be seen in the breathtaking rock-hewn churches of Lalibela, carved into the earth during the 13th century. These 11 churches, now UNESCO World Heritage Sites, stand as enduring symbols of African ingenuity, faith, and resilience. They are also the heart of Ethiopian Christmas celebrations, where pilgrims gather to chant, pray, and celebrate through the night.
When we celebrate Ethiopia’s Christian heritage, we centre Africa in a story too often dominated by European narratives. It’s an act of reclaiming, of embracing the truth that Christianity’s history and future belong to everyone, especially Africans.
When and How is Ethiopian Christmas Celebrated?
Ethiopian Christians mark Christmas on 7th January, aligning with the 29th day of Tahsas in the Ethiopian Ge’ez calendar. The day is entirely focused on faith, community, and spiritual renewal, with no Santa Claus or gift-giving in sight.
The celebrations are preceded by a 40-day fasting period known as the Fast of the Prophets (Tsome Nebiyat), during which many abstain from meat, dairy, and alcohol. On Christmas Eve, families prepare for the feast by bringing home live chickens or meat. Imagine the excitement in the streets as neighbours gather to exchange greetings and prepare for the holy day ahead.
On Ganna Day itself, Ethiopians don their finest Shamma or Netela, white cotton robes with colourful ends, and attend church services. Worshippers light candles to symbolise the Star of Bethlehem and participate in processions, prayers, and Holy Communion. This day of devotion sets the tone for 12 days of festivities filled with dance, music, and cultural pride.
The Feast and Coffee Ceremony
After weeks of fasting, the Christmas feast is a joyful celebration of togetherness. At the centre of the meal is wat, a rich, spicy stew served with injera, Ethiopia’s iconic spongy flatbread. This communal way of eating — tearing off pieces of injera to scoop up the stew — reflects the unity and hospitality at the heart of Ethiopian culture.
But the highlight of any Ethiopian celebration is the coffee ceremony, a ritual steeped in tradition. Fresh coffee beans are roasted before being brewed and served in small cups. The ceremony isn’t just about the coffee; it’s a time for reflection, conversation, and connection. In Ethiopia, even something as simple as coffee becomes a meaningful act of togetherness and cultural pride.
Games and Celebrations: Keeping Tradition Alive
The joy of Ganna extends beyond the church and the dining table. Boys play a game also called Ganna, which resembles hockey and involves curved sticks and a wooden ball. This ancient game symbolises the shepherds who tended their flocks on the night of Christ’s birth.
Another thrilling tradition is Yeferas Guks, where men on horseback throw ceremonial lances in displays of skill and strength. These games, rooted in Ethiopian heritage, reflect the community’s pride in preserving its traditions while celebrating its faith.
Beyond Christmas: The Timkat Festival
Ethiopian Christmas is only the beginning of the festive season. Shortly after Ganna, Ethiopians celebrate Timkat, a three-day festival commemorating the baptism of Jesus in the Jordan River. The highlight of Timkat is the procession of the tabot, a replica of the Ark of the Covenant, carried with reverence through the streets.
In Gondar, Timkat reaches its climax at Fasil’s Pool, where the water is blessed, and participants leap in to symbolise renewal. With vibrant music, dancing, and prayers, Timkat is a powerful expression of faith and cultural pride, further highlighting Ethiopia’s central role in the Christian world.
Decolonising Christianity and Celebrating Black Joy
Ethiopia’s Christmas traditions remind us that Africa has always been at the forefront of shaping global Christianity. Its early adoption of the faith challenges the narrative that Christianity is a Western religion. By celebrating Ethiopia, we reclaim a piece of African identity that colonial histories have often sought to erase.
At BLAM UK, we take immense pride in shining a light on the richness of African cultures. Ethiopia’s Christmas is not just a religious event; it’s a celebration of Black joy, resilience, and ingenuity. It reminds us that our stories, our traditions, and our heritage are to be celebrated, not marginalised.
So, as the festive season unfolds, we invite you to reflect on Ethiopia’s remarkable history. How can we honour the depth and diversity of African contributions to global culture? And how can we ensure these stories remain at the forefront of our collective consciousness?
Let’s celebrate Ethiopia, Africa, and the power of our shared heritage. Merry Christmas or, as they say in Ethiopia, Melkam Ganna!
Doechii’s recent NPR Tiny Desk performance was nothing short of mesmerising—a heartfelt, powerful, and revolutionary moment that left audiences spellbound. Among the standout moments was her soul-stirring performance of Black Girl Memoir, a poignant and deeply personal ode dedicated to Black women. Through her searing lyrics and emotive delivery, Doechii captured her journey of growing up as a dark-skinned girl, transforming her lived experience into a universal anthem of resilience, pride, and celebration.
The Magic of the Tiny Desk Stage
The beauty of NPR’s Tiny Desk series lies in its ability to create intimate, stripped-back performances where artists can connect directly with their audiences.
Doechii took this opportunity to showcase not just her extraordinary talent but also her vulnerability and strength. Performance radiated authenticity, proving once again that she is not just a musician but a storyteller and advocate.
An Ode to Black Women
Black Girl Memoir was the beating heart of Doechii’s set. The song, with its deeply personal lyrics, resonated as a love letter to Black women everywhere. She captured the complexity of navigating the world as a dark-skinned Black girl, balancing pain with pride and turning vulnerability into power.
With every note, Doechii reminded us of the beauty and brilliance of Black women, inviting reflection on the often-overlooked stories of those who bear the dual burdens of racism and colourism. It was a moment of unfiltered truth, delivered with grace and strength.
Representation That Matters
Representation is not just about being seen; it’s about being celebrated in all one’s authenticity. For too long, mainstream media and the music industry have perpetuated Eurocentric beauty standards, sidelining dark-skinned women in favour of lighter-skinned counterparts. Doechii’s performance stood as a bold defiance of these norms, reclaiming space for dark-skinned women to be honoured and uplifted.
Colourism in Music
Colourism has long been a pervasive issue within the music industry. From the early days of jazz and blues, where lighter-skinned performers were often prioritised for stardom, to modern pop and R&B, where darker-skinned artists face immense barriers, this bias is deeply entrenched.
Icons like Nina Simone and Lauryn Hill have spoken openly about their struggles, with Simone famously lamenting how her dark skin and Afrocentric features impacted her career. Even as recent decades have seen progress, the industry still grapples with these prejudices. Doechii’s rise as a dark-skinned Black woman is both a triumph and a reminder of the ongoing need to dismantle these barriers.
A Performance Full of Layers
Doechii’s delivery was nothing short of masterful. Her vocals carried both raw emotion and refined artistry, blending soul, rap, and spoken word into a tapestry that felt deeply personal yet universally resonant. Every lyric was a testament to her journey, every note a celebration of resilience.
Her performance was not just a showcase of her talent but a reclamation of power—a declaration that Black women, in all their shades and complexities, are worthy of celebration and respect.
Reclaiming the Narrative
Doechii’s performance is a landmark moment not just for her career but for the broader movement towards inclusivity in music. She challenges outdated norms and redefines what it means to be a Black woman in the industry.
Her boldness creates ripples far beyond the stage, inspiring a new generation of young girls who see themselves in her.
By sharing her story, Doechii is not only reclaiming her narrative but empowering others to do the same.
Why It Matters
In an industry where dark-skinned women have historically been marginalised, Doechii’s Tiny Desk performance was a powerful act of resistance and representation. It was a reminder of the beauty, talent, and magic that dark-skinned women bring to music and the world at large.
By pouring her heart into Black Girl Memoir and standing unapologetically in her truth, Doechii has created a moment that will be remembered not just as a performance but as a turning point—a call to celebrate and uplift the stories that have too often been silenced.
Doechii’s Tiny Desk was more than a performance; it was a movement, a celebration, and a powerful reminder that Black Girl Magic is not just a phrase—it’s a revolution.
BLAM UK CIC 