"I'm going to go to their offices, because whenever I hand out the CV nobody replies or they say ‘no’. So if I meet them face to face, I can blag my way in."

Toyin Owoseje | Proving Persistence Is The Key, Wrench and Bulldozer For Unlocking Opportunity’s Door

Feature Post Of The Week

In Her Words |

Principle 2:
The Beloved Community
is the framework for the future.

Dr. Martin Luther King, Jr |
Six Principles of Nonviolence

"

Food-For-Thought

social integration | soh-shuh l in-ti-grey-shuhn |
n.
"the blending and unifying of social groups, most commonly seen in the desegregation of races throughout history"

Yaaya asks:

To what extent do you feel social integration
for European black women has been achieved in the nation you live in?

?

Join The Conversation

Yaaya Asks About | Social integration for black women in Europe and for European black women globally

Tuesday, December 17, 2013

The New African Woman: Sincerely Unapologetic (For Being Different)

"There are badass African women out there. They have ideas; a voice. They are creating platforms.
You cannot box up today’s African woman.
You just can’t."

We told you she was bold, outspoken, and controversial. In many ways, Belinda’s choice of journalism topics comes as no surprise, given her personal history and passion for Africa. Indeed, her own life is evidence of the multi-layered narrative of the black woman.

In Part 3 of this four-part post, Belinda defines the ‘New African Woman’, and shares with Yaaya the importance of using storytelling to counter social invisibility.

And so the conversation continues …

The New African Woman

 

Yaaya:
What is the significance of publications like the ‘New African Woman’?
Belinda O:
The New African Woman serves a great purpose. Before it came about, with the exception of Ebony and Essence magazines, for me, there was nothing that spoke to the African woman in the motherland and in the diaspora. There was nothing on the international scene that was telling that story. This is the space that the New African Woman occupies. For us, it is about inspiring rather than imposing.

We are here to advise rather than dictate. We are here to tastefully portray a diverse beauty rather than cheapen it. It’s about being able to tell the multi-layered story of the African woman. We want to show that there are badass African women out there. They are business women, entrepreneurs, politicians, fashion designers, mothers, activists and feminists. They have children. They are single. They have ideas; a voice. They are creating platforms. You cannot box up today’s African woman. You just can’t. So, I think this is the space that the New African Woman occupies. We’ve gradually been building up. We have not reached the pinnacle yet. The best is yet to come.
Yaaya:
In your words, define a ‘new African woman’.
Belinda O:
That’s hard. You know why?
Yaaya:
Why?
Belinda O:
You cannot box the African woman up. There is no one definition to the African woman. We are women from different walks of life. You could say that the new African woman is the African woman who refuses to stay down; who is finally saying “enough, I’m here and I’m going to tell my story, on my own terms. I have my own voice.”

The new African woman has decided “enough of me being a second class citizen. I’m going to get an education, and work towards my goals and dreams. I’m going to build a legacy. I’m going to co-exist with men in a patriarchal society, and I’m going to succeed.”

The new African woman says “enough of the continuous oppression, suppression, and repression of women in society” and decides to become an activist. The new African woman is a change agent. The new African woman knows herself and does not feel the need to define herself through the eyes of others. And ‘others’ can include other women.
Yaaya:
(Smiles) Based on everything you have described, the three founders of Yaaya are definitely new African women –
Belinda O:
(Laughs) Exactly!
Yaaya:
We like this title!
Belinda O:
Women are different to each other. We have different personalities, nuances, and proclivities. There is no one definition of the new African woman. She is as diverse as you can find her. She could be my maternal grand-aunt who is the ‘mother’ of the village. She could be Folorunsho Alakija, who runs an oil company on the world stage and is impacting the lives of women and children. She could be [anyone] from one end of the spectrum to another. We are all new African women, navigating our journeys and learning as we go along. Now this does not negate the challenges faced by African women. There are still issues with education and equal pay, among other things, that we need to address through the stories we tell.

Celebrating Achievement. Inspiring Ambition.

 

Yaaya:
You have interviewed some of the world’s most iconic, high-profile black women [Chimamanda Adichie, Folorunsho Alakija]. How important is it to share the stories of these women?
Belinda O:
(Pauses) Imagine you come from a background where you are not allowed to have a voice. Then you read the story of Folorunsho Alakija, who is a businesswoman, but is also empowering widows and children. You think to yourself “if this woman has worked hard and found an opportunity to do what she is doing, there is something I can do with myself.”
Yaaya:
There is a strong element of using these stories as a tool to inspire ambition in young women ...
Belinda O:
It is first of all to acknowledge the existence of these women. But above all, it is to inspire the next generation of black women. We are inspired to go after our dreams, because these women, in spite of the old boys’ network, have broken the glass ceiling. We need to tell the stories of such women. It’s about creating that aspirational narrative that is realistic. If she [iconic woman] wasn’t doing it, you could say it is not possible. But she is doing it. She is living it.

It’s about asking her what challenges she encountered, who her mentors are, who has shaped her, what inspires her. It’s about asking these questions, and hoping that the answers will hit a nerve with somebody who reads it. It’s not just about the fashion and lipstick. No. It’s about substance. That is why we need to share these stories.

Share Your Story: Become Visible.

 

Yaaya:
Social Invisibility is at the core of Yaaya’s existence. We believe this is an issue for black women in Europe especially, and for black women globally, to varying degrees. Have you heard of the term ‘social invisibility’?
Belinda O:
Well, yes. And I have to be honest, when people say ‘social invisibility’, the first thing I’m thinking is “it is 2013, and I don’t deny [that] as a black woman, there are challenges with being visible on the social platform and stage today.” But I cannot help but ask “why not create your own visibility?”
Yaaya:
You’ve shared your perspective on it. But what does it [Social Invisibility] mean to you? Belinda O: It means one thing: your presence is not known. That is the way I interpret social invisibility.
Yaaya:
Have you ever felt that you were socially invisible?
Belinda O:
No. Like I said earlier, I have my moments. I can be loud. (Laughs) So if you don’t give me a platform, I will create it. And that was one of the foremost reasons why I started my blog. To give myself a presence on social media and be socially visible. For so long, the stories of black women were not told in the UK. When social media came along, I thought to myself “if nobody will tell the stories I like to read, I’ll start a blog and tell it”.
Yaaya:
Are we right to summarise your view on social invisibility as “do something about it. If no one will tell your story, you go right ahead and tell it”?
Belinda O:
Exactly! I believe it was Chinua Achebe that said “if you don’t like a story that someone has told, tell your own story.” So for me, I am not denying that there is no such thing as social invisibility. If I say that, it would be wrong, and would be perpetuating a negative narrative. But I think there is something we can do about that now, like never before.

You are only a click away. Start something. Like the three of you have done. You (Yaaya) are a collective, telling stories of other women. You are trying to correct the social invisibility of black women in the UK and the diaspora. If your story is not being told, find a way to tell your story.
Yaaya:
We strongly agree with you on this perspective of owning one’s narrative ...
Belinda O:
Stop waiting for someone else to come and tell your story for you. If someone else tells your story, they might tell it in a way that you do not like. Tell it on your own terms. I think that is one way around the issue of social invisibility. The internet is now at your fingertips. There is nothing you cannot do. Start a blog. Start telling your story. Post it on twitter and on Facebook. Write what you want to read.
Yaaya:
Is that what motivated you to create your own blog? To share your own story, make yourself visible, and talk about the things that matter to you?
Belinda O:
Exactly. You can do that by yourself. And if other people’s stories are worth telling, then tell their story as well. Give them a platform, like you (Yaaya) are doing. And that is what journalism is about for me. It is about telling the story of other people, whom otherwise would not have their stories told.

Join us in the final part of our four-part feature on Belinda Otas, where Yaaya finds out Belinda’s plans for the future, and what it means to be a theatre junkie!

Like this post? Leave your comments below to continue to support Yaaya’s vision of providing platforms to voice powerful stories of incredible women like Belinda. Invite others to join the conversation by sharing this post!

Thursday, December 12, 2013

The Rise And Rise Of The Accidental Journalist

"I want to change the narrative of the African woman … on the global stage. I am
tired of seeing sagging breasts
and flies around babies’ necks."

‘Belinda Otas’ is what happens when ambition meets assiduousness. Her resume is an enviable list of media powerhouses and renowned global personalities. Belinda is journalism, and journalism is Belinda. Full stop.

In the second part of this four-part post, we discover what drives this passionate and prolific journalist to success, and her advice for aspiring journalists to “find and define [their] voice.”

And so the conversation continues …

Stumbling In Love With Journalism

 

Yaaya:
You’ve had an interesting career. You almost became a lawyer …
Belinda O:
(Laughs)
Yaaya:
Yet here you are, an award-winning journalist. Here at Yaaya, we hope to use success stories to inspire ambition in young black women. How did you get to where you are today?
Belinda O:
That’s an interesting story. Again, this goes back to getting sick. I’m the first of 8 children. My father wanted a doctor, but I turned out to be a disappointment because I hated Physics and Chemistry, and I was terrible at Maths. I don’t remember ever getting a C in Maths. It was always ‘F’ or ’D’ (laughs). However, I excelled in Humanities and the Arts (History, Politics, Literature). I liked the whole idea of being a lawyer; the idea of being in a black robe and a wig was the symbol of power. But getting sick meant I could no longer continue studying in Nigeria because I was flown out to the UK for medical treatment.

I wanted to study Law or Criminology. I liked the idea of catching the bad guy. But when I got to the UK, and would watch the news, and [see] people ‘get off’ on a technicality, after committing a heinous crime, I thought “that’s not right”. I became disillusioned. I really don’t like to see people (good people) suffer.

Because I was ill and at home, there was no one to talk to. I had been plucked away from all my siblings. It was just my Mom and I. Mom was dealing with the fact that her first child was at death’s door. That was when I started writing. In getting sick, I discovered writing. About 2-3 years after I had a transplant, I went back to university and got a degree in Creative Writing and Journalism, and during my degree I did a work placement. That’s how my journalism journey started. I fell into it, and fell in love with it.

Pearls For Success

 

Yaaya:
What advice would you give to young women who are considering a career in journalism?
Belinda O:
Oh my word… You have to be tenacious! You have to be resilient…and read. You can never stop reading. When you stop reading and learning, I think the jig is up at that point. Read everything you can find. Find and define your voice. Ask yourself the kind of journalism you want to do. The kind of stories you want to tell, and why. For example, I write about gender, because I understand the challenges that come with being a woman. They say every story has been told. So how are you going to tell an old story in a new way?

Whose story do you want to tell? Whose silent voice do you want to represent? Who needs to hear it? On whose platform do you want to tell it? What are you passionate about? What would you like to change? What legacy do you want to leave behind? Those are the kind of questions you ask yourself before you embark on a journalism career.

I truly believe that the key thing is knowing what you want to do, why you want to do it, and then finding out how to do it.
Yaaya:
Some invaluable pieces of advice there … Any more pearls?
Belinda O:
I think it is very crucial to have a mentor. Your mentor should be someone who challenges you. Pick someone whom you respect and is more knowledgeable than you [are] to mentor you. Listen to them, and ask questions. They can advise you, but they probably will not have all the answers. But because they have been on that journey longer than you have, they have an idea of how you can navigate your way through it. You have to be dogged. You have to be determined. Journalism is not the kind of job that makes you rich. It is not a 24 hour party.
Yaaya:
It most certainly is not ...
Belinda O:
As an African woman, I understand the challenges that come with being considered a second class citizen. Your position is number 2, and that of the male child is number one. I want to change the narrative of the African woman that has been defined on the global stage. I am tired of seeing sagging breasts and flies around babies’ necks. I want to show the other side of the African woman. The African woman who is leading a multinational agency or company. I interviewed Folorunsho Alakija, who according to reports is the richest black woman in the world. For me, that is a milestone. It is not every day you get to sit in the presence of greatness. She humbled me with her humility. That was the biggest take-away when I interviewed her. I will never forget that.
Yaaya:
What is the one highlight of your career to date?
Belinda O:
(Pauses)
Yaaya:
Belinda is silent. This must be a big question…
Belinda O:
(Laughs) Last year, when my body rejected my only kidney, it was a very trying time. When that happened, I became so hungry. I made a list of people I wanted to interview. Chimamanda Ngozi Adichie has been on my list since I became a journalist. I finally got to interview her in December [2012]. Writing that article was a beautiful experience! I respect her as a writer. I appreciate the fact that she has found her own voice on the world stage, and is not afraid to say the things she says, without apologising for it. Interviewing Adichie was a highlight. Interviewing men and women like Folorunsho Alakija and Tony Elumelu, one of Africa’s leading business men and philanthropists have been great highlights this past year.
Yaaya:
That is quite something. How do you balance such a high impact career with your personal circumstances?
Belinda O:
Being able to finish an article is a highlight because I really do struggle due to the amount of medication I take [and] their side-effects, which boy oh boy, I do not like. Imagine taking your early morning dose and knowing full well that you are going to sleep for at least another 3 –to-4 hours and cannot type a word. Then wake up, quickly do some research, try and write but [then] it’s time to take another set… and this is in addition to days when I have relapses in terms of living with chronic unexplainable pain.
Fit hospital appointments into that, physiotherapy sessions and other things…it can be a lot for me. If you ever meet me, you will also see I am rather tiny in size…so physically, it can be challenging and exhausting. The magazines I write for, I appreciate and being made Assistant Editor of New African woman was pretty cool.
That said, every day is a highlight, each day I don’t get [called] from the hospital that I must now go back on dialysis is a highlight in my life, career or no career. Being alive is key to having a career.

In the forthcoming posts, Yaaya and Belinda explore the importance of celebrating achievement and storytelling. Belinda shares her views on social invisibility, and on the importance of platforms like the New African Woman and Yaaya.

Like this post? Leave your comments below to continue to support Yaaya’s vision of providing platforms to voice powerful stories of incredible women like Belinda. Invite others to join the conversation by sharing this post!

Monday, December 09, 2013

Belinda Otas, Bravery Redefined

Belinda Otas is many things: bold, outspoken, controversial, complicated. But for us, her singular defining attribute is her bravery. She possesses the kind of courage immortalised in stories of superheroines. Especially because of this, Yaaya is glad to share Belinda’s story with our readers and the world. We believe her story should be celebrated and upheld as a constant reminder of the force for life that lies within us all.

In the first part of this four-part post, Belinda talks to Yaaya about why she decided to become a part of our conversation, and bravely opens up about her medical condition, and how this has shaped her belief system.

And so the conversation begins …

When Yaaya Met Belinda Otas

 

Yaaya:
It’s great to meet with you, thanks a lot for honouring our invitation. Can you tell us why you think it is important to share your story through Yaaya?
Belinda O:
Your story is yours to tell, and if you don’t tell it, someone else might end up telling it in a way that you don’t like or appreciate. So when a platform comes up that allows you to tell your story, be that a blog, magazine or website, as long as it’s a platform that you are happy with, in that their ethos corresponds or correlates with yours, and you have no problem sharing your story, then by all means, share your story. It is yours to tell. And there is no better way to have a sense and ownership of self than to tell your story. If you don’t tell it, how will people get to know you?
Yaaya:
We completely agree. Here at Yaaya we are big on sharing stories, and we understand the importance of that.

Discovering Belinda Otas

 

Yaaya:
Your online presence focuses very heavily on your journalism and your passion for theatre. But we know very little about Belinda Otas. Who is she?
Belinda O:
(Laughs) That is a million dollar question. It’s hard to define Belinda Otas in one word, but if I wanted to use one word, I would say complicated. (Laughs) At the end of the day, I think you need some element of complication to keep you on your toes. You have to be as versatile as possible. I consider myself to be a loving person. If you get to know me, you probably will see that side.

If you look at me from afar, I can come across as aloof. But once you get to know Belinda, [you will find I’m] actually playful. I remember one lady at church who just used to smile at me in a cordial way and then one day we had a conversation and she said to me “I never knew you were like this. I never even thought you would ever speak to me.” And that’s because I tend to keep quiet. I have my moments. I can be crazy and as loud as I want to be. But there is also that introvert part of me, which if you don’t understand, you can interpret is as me being a snob, which is far from the case. Sometimes it’s good for people to get to know me on Twitter before they see me in real life and get to know those other aspects of me. I have my moments e.g. I recently tweeted:
most successful men have an incredible sex drive … Michael Flatley - Sweet Lawd Jesus, I ain't even gon' lie. Send me 1. Lawd, send me 1 :)
That is one of my moments when even I say, “girl, you crazy!”

I can be outgoing, but at the same time I really appreciate my space. I absolutely love solitude. Solitude and I are best of friends. And you (Yaaya) have noticed my passion for theatre, it is one of the places where I feel at home the most.

But I would say one thing I absolutely love is someone who lives on purpose. My respect for [such a person] jumps through the roof.
Yaaya:
Tell us a bit more about that. What do you mean by “someone who lives on purpose”?
Belinda O:
You know when you meet someone, and they know where they are going … They’ve defined their goals, have a vision [for life], and live for something, and not just for themselves. They live to enhance other people’s lives. I truly believe that what you make happen for others, God will make happen for you. Even if you are not a person of faith, the universe will make it happen for you one way or another.

I believe in seed time and harvest time. So when I meet someone or a group of people who live on purpose, who are or want to be changemakers or entrepreneurs, people who challenge you mentally and you can learn from them – people like that really excite me. When I meet [such] people, I honour them, respect them, and keep quiet and learn from them. I am encouraged and challenged by that.
Yaaya:
What gets you out of bed in the morning?
Belinda O:
My life experience to date has played a big role in my life. If I had not been through what I’d been through, maybe I would see life differently. When I was 15, I got sick. For a whole year, nobody knew what was wrong. I was misdiagnosed, and ended up losing both of my kidneys. From 16 to 22, I lived on dialysis. Now those are your teenage years, the valuable years when you come into a sense of self and who you are; when you get to define yourself and find out about boys, make decisions about career, family ...
Yaaya:
Your formative years …
Belinda O:
Exactly! Your formative years! I did not have that. My life was pretty structured ... I started working a dialysis machine at 17. I could needle myself and put myself on a machine. People my age group were discovering life, but I was pretty much: hospital, dialysis, home, church. I couldn’t tell my story because I became very timid and shy, and ashamed, to some level of what was happening to me, because one I didn’t understand it, and two, it was a lot to deal with, for someone at that age, especially when nobody recognises that ‘actually, this child needs counselling. It is a little too much for her young mind to be dealing with so when you don’t get the kind of psychological help that comes with having your whole world turned upside down, you can lose your sense of self.
Yaaya:
Tell us more about that …
Belinda O:
Between 16-19 years, I didn’t have a sense of self. I kept to myself, I was very shy, very timid, and very angry about what was happening to me. But there was a turning point and that turning point was my faith. My faith has always played a big role in my life. For the first 3 years of dealing with that, I wouldn’t say my parents were not equipped, but they were just so focused on trying to ensure I survived, that nobody thought about the mental impact my situation had had on me. Imagine me trying to navigate my way out of that, and my faith was what gave me that. I started talking to God, saying "help me understand this. This doesn’t make sense".

I had my whole life ahead of me. I was about to sit my final exams in Nigeria so I could go to university when it all happened. So to have all of that taken away from me was very painful because I couldn’t go to school. I was at home or going through dialysis 3 times a week. It took over my life. To not have control (pauses) … and to not have a voice to say "this is what I’m feeling" and just having to deal with that.

(Pauses) It can kill you mentally. But like I said, I rediscovered myself through my faith, and in going to church, I found like-minded people, a community that I could trust. And I think my faith was what gave me myself back.
Yaaya:
So, your faith got you out of bed in the morning?
Belinda O:
Yes.
Yaaya:
And is it still what gets you out of bed in the morning?
Belinda O:
Oh yes! My faith still plays a big role in my life. I haven’t dropped it, and I don’t intend to drop it. If I ever do, I’ll probably end up dead (Pauses) (laughs) But now, I live on purpose as well. I have a lot of things I want to do with my life. I’ve had a kidney transplant (Pauses) It’s a daily walk. A daily journey. I have good days, and bad days. I take a lot of medication with numerous side effects. Some days I won’t be able to speak because I’m so drugged up. I suffer from unexplainable pain. There are days when I have no control over that pain. I depend on painkillers to survive from hour to hour. But inasmuch as I would to think this is a special problem, I refuse to specialise the problem. Instead I allow my circumstance make me want to live an exceptional life on purpose.

And that is one of the things that fuelled my journalism and my dreams as a writer. For me, living on purpose gets me out of bed. I dream big. Even as I’m talking now, I’ve been dealing with a medical challenge since last year. This past year has been a tough year, because last year, I experienced a rejection, where your body rejects an organ that has been given to you. The prospect of going back on dialysis…was not something I had given thought to. But it happened to me. And I’ve become so hungry to do better with my life, because I don’t know what’s going to happen tomorrow. The doctors have given me a timeframe …
Yaaya:
There’s a sense of urgency now, because you feel that perhaps you are running out of time…?
Belinda O:
Exactly. And that pushes me. Sometimes it gets me down, when I’m tired. But I push against the tide and say “come hell or high-water, I’m not giving up without a fight”. I’ve had to fight since I was 16 years old. It’s part and parcel of me. I think giving up will kill me faster than not fighting. Fighting is what keeps me alive.
Yaaya:
Just so we have it on record, this happened as a result of a misdiagnosis, is that correct?
Belinda O:
Yes, that’s correct.

Yaaya continues the conversation in Part 2 of our four-part post where Belinda walks us through her career to date, and shares her principles for success in the competitive world of journalism.

Like this post? Leave your comments below to continue to support Yaaya’s vision of providing platforms to voice powerful stories of incredible women like Belinda. Invite others to join the conversation by sharing this post!

Image Source | These images do not belong to Yaaya. Image courtesy of Ayo Odesanya.

Sunday, December 08, 2013

Yaaya At: The Film Africa Festival 2013 | L'Afrance

"50 years ago, they said 'n**gas are savages who can play drums.'

Today they say, 'black people have got rhythm.'

I am sick of being black.

I am a Senegalese."

With these words, L'Afrance sets the tone for the unfolding of an emotional journey in search of the answer to that most fundamental of existential questions "who am I?" Director Alain Gomis' debut piece, L'Afrance encapsulates the psycho-pathological struggle of the European migrant through the story of El Hadj, a young, talented student, whose swift fall from grace to grass is as surprising as it is saddening, leading him on a road to self-discovery.

In this gripping drama, a young West African man finds himself wrestling with his dreams and identity. El Hadj Diop (Djolof Mbengue) is a student from Senegal who has almost completed his studies at a university in Paris when he discovers that he has neglected to renew his residency papers. This negligence brings him face to face with the full force of French immigration authorities, who arrest, detain and plan to deport him. Desperate to find a way to stay in France long enough to graduate, El Hadj arranges to purchase forged immigration documents, and takes a job with a construction crew in order to pay for them.

On a personal level, El Hadj is faced with marriage on his return home to his long-term fiancée, Awa. He evades this by choosing to remain in France rather than submit to the immigration laws and ultimately, deportation. He spends his days navigating Senegalese life via the tapes he is sent from home, and negotiating demanding phone calls from his future wife, while also experiencing French life via football matches, wedding parties and police abuse. Cultural conflicts catalyze to lead him to a turning point of violence, and attempted suicide. The film ends with El Hadj post-breakdown back in Senegal, and in an unlikely 360 degree turnaround, informing his father that he wishes to stay in France and teach there instead.

Alain maintains "this is not a film about immigration." Rather, L'Afrance is an attempt to highlight that "identity is not just about nationality." Nonetheless, he adeptly captures the migrant experience of European society, on a multi-layered fabric. From El Hadj's character, representing the best and brightest of youthful Africa, a highly skilled migrant on whose shoulders rest the hopes of entire peoples, to Demba, a hardworking older friend of El Hadj’s, who has lived so long on the fringes of French society that he had become invisible. A fifteen-year exodus from Senegal turned to, some may say self-inflicted, exile. Forever lost to the warm touch of his wife and his son's loving embrace.

We watch as our protagonist, a confident, intelligent young man is reduced to little more than a raving pugilist; a cement carrying barroom brawler. We see his railing struggle against this transformation, where Senegal, black consciousness and fiancée Awa represent the old and familiar; and France, socio-cultural integration and Myriam, his white lover, represent the new and invasive.

Djolof Mbengue pulls off the portrayal of this charismatic eccentric with style. From a dignified confidence reminiscent of past prides of Africa (Sekou Toure, Patrice Lumumba) to a raging madness characteristic of a trapped lion in a desperate fight for freedom, and finally, to a quiet, calm acceptance of the inner knowledge that he is no longer that which he once was. El Hadj neither abandons his prior upbringing completely, nor embraces his new identity entirely. Instead, he morphs into a hybrid; a confluence of cultures: where Western Africa meets Western Europe ...

L'Afrance is raw, real, passionate and potent. It sheds a light not only on the legal and socio-cultural implications of migration in European society, but also on its lasting psychological effects; the feelings of displacement, of disconnect and detachment from what was once El Hadj’s sole source of identity, his Senegalese background, now reduced to little more than fond memories. In an increasingly global society where immigration and expatriation are fast becoming the norm, L'Afrance is relevant and timely in forcing us to ask: ‘as human beings, what constitutes our identity, and in this context, how do we define ourselves?’

Source | Images courtesy of L'acid and Toutleciné. Video courtesy of YouTube.


Friday, December 06, 2013

Yaaya At: The Film Africa Festival 2013 | La Pirogue


Two hundred years ago, the people of Senegal, like many of their West African neighbours, experienced the greatest human rights abuse of all time – the trans-Atlantic slave trade. Wolof, Fulani, Halpulaar and Serer people were captured and chained in slave ships for three months, where only the strongest survived the middle passage, only to be sold like cattle in the Americas. 200 years later, hundreds of Senegalese young men are ironically embarking on the same dangerous journey across the Atlantic, but this time by their own free will, and on fishing boats as opposed to slave ships.

These disturbing ironies, despite their slight nuances, were one of our first thoughts upon reading the synopsis, and watching the film in its entirety. History and current events seem to be intertwined and difficult questions such as: upon the millions of Africans whose bodies lay on the bed of the Atlantic Ocean as a consequence of the slave trade, how many more now lay afresh with their ancestors in this day and age?

La Pirogue

La Pirogue tells the story of an experienced fisherman and family man named Baye Laye (Souleymane Seye Ndiaye), who is ‘coerced’ into using his expertise to captain a pirogue filled with 30 Senegalese and Guinean individuals- some of whom have never seen the sea before. Their destination is Spain, and Baye Laye initially struggles with the temptation and pressure to embark on this dangerous journey, but later gives in as economic pressures, moral sensibilities and the desire to realise his own hopes prevail.

The Dakar-based smuggling operation appears to be a smooth and common business, as financial transactions and deals are swiftly closed, and a steady stream of willing and hopeful men are plentiful. Before the pirogue even sets sail, we see how tenacious young men desire to leave Senegal through the characters Abou (Malaminé 'Yalenguen' Dramé) and Kaba (Babacar Oualy), who enviously highlight the names of their peers who have left Senegal and built luxurious homes, and those in successful musical bands. They harbor naive expectations of becoming a professional footballer and a music producer once they land on European shores, which causes the audience to feel pity on their child-like, yet understandable gullibility.

As the pirogue and its passengers embark on their journey, we initially see minor tensions across ethnic and linguistic lines, bullying from Lansana (Laïty Fall) the middle man of the smuggling operation, and friction caused by the discovery of a female stowaway named Nafy (Mame Astou Diallo). However as the journey lengthens, we begin to see friendships form, tension and rivalry lessen, and support between brethren strengthen. The first couple of days on the pirogue appear to be fine. Baye Laye is doing an excellent job of navigating the Pirogue, food, power and health are in good measure, and they seem to be making steady progress towards their destination. However, there is an overwhelming sense amongst the audience that this good fortune will not last for long. This foretelling is particularly illustrated when the pirogue encounters another boat whose passengers are stranded without food or fuel. The crew’s faith is tested, and they decide not to rescue the destitute passengers, which marks their ominous fate on the high seas of the Atlantic.

Almost predictably, their boat is caught up in a deadly storm, which cements in the minds of the characters and the audience that their fortunes have turned, and that a precarious situation lays ahead of them. The storm is the crew’s first experience of death and misery, which causes fear, insecurity and an increase in prayers and exhalations to God amongst the passengers. Soon after the storm, the pirogue’s engine gives in, and we tragically see passengers perish one by one, as food and water diminish, and thirst, exhaustion and exposure to the elements claim the lives of the old and young.

When it appears that there is no hope left, we are exposed to the inner thoughts of some of the last remaining passengers as they reflect on their lives, decisions, families and God, before they too expectedly die. Just when it seems like the last survivors will perish; the Spanish Red Cross discovers the Pirogue, where only 4 passengers remain. They are rescued, however sent back to Senegal, where they receive a mere sandwich on their arrival. As Baye Laye and Abou walk home together from the airport, we question if they think their decision to cross the Atlantic was worth it, and what lessons they have learnt about themselves.

The film ends with a dedication to the 300,000 West Africans that have perished as a result of crossing the Atlantic to greener pastures in Europe, a jarring figure which Moussa Touré puts into context by providing human faces, an emotive storyline, and infallible dreams.

Source | Images courtesy of Covering Media, Rue89, CNN. Video courtesy of YouTube.


Wednesday, December 04, 2013

Yaaya At: The Film Africa Festival 2013 | Atlantiques

There was a noticeable buzz inside Ritzy Cinema in Brixton, as we waited for the screening of Atlantiques and La Pirogue. No doubt the Yaaya team was riled up to see both films, not least because it quenched our love for the arts, Africa and the African Diaspora, but because the Film Africa Festival had succeeded in putting together an exciting and diverse exhibition of films and documentaries from across Africa.

These films encompassed brilliant works of cinematography from Anglophone, Francophone, and Lusophone Africa, displayed the cultural and linguistic diversity of the continent, whilst at the same time explored the intersectionality of Europe and Africa in the context of migrant experiences and aspirations.

It was the exploration of the experience of African migrants, and their imagining of Europe as an economic haven where choice and dreams can be realized, that instinctively prompted us to watch both films. Yaaya, being an organization that in addition to providing a platform for black women in Europe to share stories of success and ambition, also endeavors to start conversations in relation to the black experience in Europe. Atlantiques and La Pirogue therefore provided us with an opportunity to see both a documentary and dramatization of pertinent issues that concern us.

As we took our seats, tweeted, found the time to take pictures and completed bureaucratic paperwork, we were welcomed by the facilitator for the night, and pleasantly received a talk from the Head of the IOM (International Organisation for Migration) in the UK, where she put into context the current reality of the dangers many African migrants face when crossing the Atlantic to enter Europe. As the lights dimmed, and the movie theater quieted, we experienced two powerful pieces of work, which forced us to ponder the extent to which an individual’s life can become so difficult that risking death becomes a viable option, and question how Europe can effectively manage a natural human occurrence.

Atlantiques


Atlantiques is a short documentary which explores the motivations of a young Senegalese man named Serigne, who wants to leave Senegal on a pirogue (Senegalese fishing boat) en route to Spain for the second time. The documentary opens with a recording of a man describing his experience of boarding a pirogue, and he gives a harrowing account of his near death experiences on the Atlantic. The recording sets the tone for the rest of the documentary, as the audience watches and listens to a series of conversations in Wolof between Serigne and Alpha, two young men who have different views about risking one’s life to enter Spain. Serigne states that “he has nothing but dust in his pockets,” and reveals his frustration of not being able to provide for his family who experience hunger because of a lack of money.

Serigne’s frustrations mirrors that of many young Senegalese men, in a country with an unemployment rate of 48% as of 2007[1], which has consequently forced many young men to leave villages, towns and cities in search of brighter futures abroad. We see Serigne rationalize his decision to cross the Atlantic a second time, with justifications such as “If I die its God’s will,” an illustration of how fear, risk and hope co-exist in the minds of would be migrants. Alpha on the other hand doesn’t view the risk as worthwhile, and tries to discourage Serigne from boarding a pirogue again. There are however points of agreement between the two young men. Alpha is equally aware of why Spain is an attractive place for his friend, and listens intently as Serigne reveals the psychological impact that his first trip has had on him, and how he has experienced things “he cannot speak of.” The two men also ponder on what action they would take in difficult scenarios on a pirogue, such as if a friend happens to go overboard. Serigne argues he will try and help his friend even if it means risking his own life, illustrating how friendship and support is an important part of surviving the voyage, but also how men are bought into one another’s hopes, dreams and desires.

After the series of conversations between Serigne and Alpha, we soon learn that Serigne died on his second attempt to cross the Atlantic, and in turn that he did not heed the advice of his friend. We see the impact Serigne’s death has on Alpha and his family. As an audience we also feel his loss. This is because we have been privy to his intimate thoughts and feelings with his friends, and have sympathised with his frustrations. Serigne is now a statistic with a human face, part of a group of over 300,000 hopeful West Africans who have perished trying to cross the Atlantic.

A memorable part of the documentary is when the camera focuses in on who we presume to be Serigne’s sister for a long period of time who is visibly upset. The setting is inferred to be Serigne’s family home, and we get the sense that his family is mourning his death. This scene reinforces the impact of the death of young men on families, and forces us to question how many families have lost multiple sons, grandsons, husbands and nephews on this treacherous voyage.

Source | [1] “The World Factbook, Unemployment Rate". Image courtesy of Film Festival Rotterdam. Video courtesy of Film Africa IDENT from Film Africa on Vimeo.


Wednesday, November 20, 2013

Immigrant Or Citizen? | Kiri Kankhwende

“Australians don’t have integration issues the way migrants from, say, Somalia or Pakistan do; indeed, nobody really thinks that Australians are foreign at all.”

In August, Melanie McDonagh, a columnist for the Evening Standard, commented on Boris Johnson’s proposal that Commonwealth citizens be given “preferential treatment” with regards to the immigration cap on non-EU migrants:

“Arguing about immigration simply in terms of bald numbers always seems a dud idea because it ignores the fact that some immigrants assimilate without even trying; others don’t.”
In case there was any doubt, she drove her point home:
“Australians don’t have integration issues the way migrants from, say, Somalia or Pakistan do; indeed, nobody really thinks that Australians are foreign at all.”
It was a short comment, almost an aside – as if she was simply restating a self-evident truth, so true in fact that she did not have to elaborate further on what these “issues” of integration might be. So often, those who decry the racism in immigration policies or rhetoric are chided for over-reacting or “playing the race card.” However, the reason Melanie could make such a sweeping statement was because she knew that everyone knew what she meant: it’s a coded discussion, and the code was ‘race’.

Race and immigration are intertwined, and have been since the first major immigration controls were introduced as a reaction to people from the Caribbean, Africa and South Asia immigrating to the U.K. during the 1950s. Institutional racism is more insidious and difficult to pin down than overt racism, but the recent government has made it easier with policies such as the “Go Home” van, a van emblazoned with the words, “In the UK illegally? Go home or face arrest.” The advertising campaign was allegedly targeted at those in the UK illegally, but only driven around some of London’s most ethnically diverse boroughs, including Hounslow and Brent during its week-long trial.

If ethnic minorities bear the brunt of an elaborate immigration policy aimed at keeping people out rather than facilitating the reality of migration in a global marketplace, the measures targeted at family are a particular issue of concern for black women. Feminist campaigner Chitra Nagarajan has written an excellent blog post about the intersection of migration and women’s rights and the implications of new spousal immigration rules. She also highlights historic injustices, such as the virginity tests of the 1970s:

“The practice of ‘virginity testing‘ in the 1970s has been well documented. Immigration rules at the time did not require women arriving in the UK to have married their fiancés in order to have visas if the wedding was due to take place within 3 months of arrival. Internal Home Office papers show the practice of conducting medical examinations to see whether a woman entering the UK under this bracket was a ‘bona fide virgin or fiancée.’ At least 80 ‘virginity tests’ or, to give them their proper name, state sanctioned sexual assaults took place, based on racist and sexist stereotypes that south Asian women are submissive, meek and always virgins before marriage and on the biologically false notion that all women have hymens before having sex. The UK state has still not apologised for this. [1]”

New spousal rules, among other measures, have raised the amount of money a person has to earn before their spouse can join them in the UK. Consequently, these rules have been roundly criticised for breaking up families. People of all races are dragged into the net, and married couples are more likely to end up separated because they are students for example, or because one is self-employed and cannot prove a steady income for a said spouse. Richard Fabb, a British man married to an Australian, wrote in his article on Comment is Free about the toll that a longer probationary period was having on his family. His wife could not take up work until her probation expired and as a result was reluctant to leave Australia and return with him to the UK:

"The long probationary period is meant to make it harder for sham marriages to last, and to be a period in which the applicant can assimilate into society. To me, it feels as if there is a presumption of criminality that I find offensive. I do not want my wife to spend that long as an outsider when she’s already lived in the UK for four years on an ancestry visa. She’s pretty well assimilated thanks very much. What’s more, in marrying me she cemented a lifelong connection to Britain."
Perhaps the universality of the policy and its effects on British citizens and their families as well as migrants is the reason why it has received a moderate amount of press coverage.

Britain is not alone in its ever hardening stance towards immigration, particularly given the ongoing recession. Europe has long strived to create “Fortress Europe.” Colonel Gaddaffi warned that without Libya policing its coastline, Europe would “turn black” due to migration from Africa to Italy across the Mediterranean Sea. For years, there have been reports of African migrants and refugees aboard boats leaving North Africa for Europe with an untold number perishing in the sea. On 3rd October, a boat packed with more than 500 Eritrean men, women and children caught fire and capsized, killing 364 people and causing shockwaves around Europe. Author and broadcaster Kenan Malick blamed the tragedy on EU border policies:

“Last week’s horror was neither an accident nor merely a tragedy. It was the gruesomely inevitable consequence of EU border policies. For more than three decades the EU has been constructing a Fortress Europe to keep the ‘unwanted’ from landing on the shores of the continent, spending hundreds of millions of euros on external border controls. At the end of this year the latest scheme, Eurosur, a new Mediterranean surveillance and data-sharing system making use of drones and satellites is due to come on stream. European policymakers claim that the system will help prevent disasters such as the one in Lampedusa. History suggests that it will be deployed to prevent migrants from reaching Europe but not to save their lives.

Fortress Europe has created not only a physical barrier around the continent, but an emotional one, too, around Europe’s sense of humanity. Migrants have come to be seen less as living, breathing human beings than as so much flotsam and jetsam to be swept away from Europe’s beaches.”

Asylum and immigration are often conflated, more often to the detriment of the asylees, who, it is often forgotten, are seeking refuge. In Switzerland, some towns have moved to segregate asylum seekers entirely, banning them from public places due to fears about “criminal activity.” A “rising climate of Islamophobia” in France a concern for its Muslim population, while, in Italy, the first black MP and anti-racism campaigner, Cecile Kyenge has been likened to an orang-utan, had bananas thrown at her, and labeled a prostitute. Kyenge’s struggle goes to the heart of the issue. The epitome of grace under fire, she has been targeted personally for daring to push for Italy’s immigrant’s to be recognised as citizens, backing a new law that would grant citizenship to children born in Italy, regardless of their parentage.

The benefits of migration are usually cast in economic terms. It is true, migrants give more to the public purse than they take out, and they are less likely to use social housing. According to the latest figures by the Organisation for Economic Cooperation and Development, migrants make a net contribution to the public purse of 0.46% of GDP (including pensions). But there is more to the story; it has a human element. Where the state intrudes so deeply into people’s lives, the least we can demand is a system that treats everyone equally and with respect for human dignity. If not, Ethnic minorities will always feel like their citizenship is under review. The policy of immigration spot checks in tube stations and on buses, in which racial profiling is allegedly rife, exacerbates that feeling. The message from the British Government is clear: don’t get too comfortable. You don’t really belong here.

Source | [1] “Uncovering virginity testing, controversy in the National Archives: The intersectionality of discrimination in British immigration history” (2011)


~ Kiri Kankhwende | @madomasi
Kiri is a Malawian writer living in London with an eye on Southern Africa. She has a background in human rights campaigning and is interested in immigration, politics and theatre. She can be found blogging at madomasi.wordpress.com and mediadiversity.com.

Sunday, November 17, 2013

Africa, Newham And Italy: Where Inspiration Meets Imagination

"That’s another inspiration for my artwork as well.
The feeling I get
from being in Newham is amazing.
I feel happy here."

In the final part of our interview with Antonietta, we discover her interest in Nigeria, the impact she hopes her work will achieve amongst young people, why Newham holds a special place in her heart, and future projects she is working on.

And so the conversation continues …

Yaaya:
Looking into the future, what impact would you like your work to have on others?
Antonietta T:
I would like it to have a big impact on young people, but that is where the role of my art workshops would come in. My business would be split up into two sections. It would be the workshops, and the textiles and art side. I want to be an ambassador for art, for young people. That’s what I want to do. How was that? Shall I add anything else?
Yaaya:
(Laughs) That was perfect! We like your last sentence very much. “I want to be an ambassador for art for young people.”
Where would be your dream location or exhibition to showcase your work?
Antonietta T:
Somewhere in Africa.
Yaaya:
Is there a particular country you have in mind?
Antonietta T:
Nigeria I think.
Yaaya:
Why Nigeria?
Antonietta T:
I haven’t been there, but I have a lot of friends from there, and they always bring back clothes or things they’ve bought from there, and I’m just like “wow!” The designs on [the clothes] are so crazy. They talk about what they did when they were on holiday, and how they went to fashion events, and how the fashion scene is buzzing right now. Nigeria would be a great place for me to go, especially since my work is contemporary as well. It would really work well out there.
Yaaya:
You seem to be quite a cultured person that interested in your heritage, family, culture, Africa etc. Where does this come from?
Antonietta T:
I’m not sure. I’ve always been a person that thrives on visual images. Even if I sit here and close my eyes, I see lots of flashing images! If I’m trying to describe something to someone, I describe it in such a visual way. I wouldn’t say turn left or turn right. Also I love bright colours, so that’s where my love of African textiles come from.

From a young age, I have thought that everyone should embrace where they are from. Also, growing up in Newham is just so multicultural and I really enjoy living here because of that. Everyone has something different to bring to the place that they are living in, and it’s nice to live in a place where people live in harmony together. That’s another inspiration for my artwork as well. The feeling I get from being in Newham is amazing. I feel happy here. You do get the odd racist person, but there is hardly any of that in Newham. Everyone mixes, everyone knows people from different cultures, there are lots of mixed families, so it’s a nice place to live.
Yaaya:
What projects are you currently working on?
Antonietta T:
I’m working on a project that is exploring my dad’s Italian heritage. I’ve only just started doing sketches of images I took last year in Italy. I produced a sketch of my grandma. She’s a farmer so she’s quite strong. I thought that would be an interesting basis for my art work, because I would be exploring concepts like strength in women.

Also there is a town in the mountains where my dad’s family is from called Valva in Naples, and you can see it from where my grandma lives now. My mum bought me a new lense for my camera so you can see the town clearly, and so I was able to take a really good photo of the town. I was drawing different sketches and playing with colours. I initially did the sketches in black and white but didn’t like it. My work is not black and white as my aesthetic is very experimental with colour. So I had to adapt it, and bring out myself in my work, and make it more contemporary and interesting.
Yaaya:
How is the project progressing?
Antonietta T:
I’ve stopped a bit because it’s hard when you delve into family issues, and you start contemplating about things. I keep stalling but I need to do it because it’s really important. I never met my paternal grandfather, so its kind of hard and emotional. When I found out he (paternal grandfather) passed away I was really sad as I never met him, but at the same time I wasn’t upset because I didn’t know him. That’s when I thought I need to express this through art.
Yaaya:
Where can we see some of your work?
Antonietta T:
You can see it at KPMG, however it’s a private exhibition. I think they will open it up soon, so when I find out I will let you know. You can see my work at Kamba Gallery in Great Antiques Market in Mayfair.

You can also see my work in Number 8. It’s a shop in Forest Gate opposite the train station. It’s an emporium, so they sell different types of things like vintage items, plates, vases and other random things. They also sell artists work, my work and two other artists are being sold there. It’s a little shop, but they have so many things.

You can also see my work in Established, which is a pop up shop in Westfield, Stratford City. It’s one of the shops outside.
Yaaya:
So we can see your work in a lot of places?
Antonietta T:
Antonietta T: Yes. There will be some more places coming up soon though, but I can’t think of any more at the moment!
Yaaya:
We'd like to end this interview by asking you to complete a few sentences. So let's begin!

Art is important because ...
Antonietta T:
It’s a way for people to express their feelings without speaking.
Yaaya:
If I wasn’t an artist I would be ...
Antonietta T:
A wedding planner. It’s so random! (Laughs)
Yaaya:
Living in the UK feels ...
Antonietta T:
It feels good to live in the UK because you have a lot of opportunities even if you don’t think about it straight way. You meet so many different people, as people come from all over the world to live here and start new lives. The U.K is a really interesting place because of that. You can find everything and everywhere here. I love it!
Yaaya:
Yaaya to me represents ...
Antonietta T:
A platform for women to inspire others.

This post concludes our interview with Antonietta Torsiello. Share with us your thoughts on Antonietta’s journey and future ambitions!

Catch-up on the earlier parts of our conversation:

Part 1: Antonietta Torsiello, Newham’s Rising Artist
Part 2: Navigating The World Of Art: Being Young, Female And Black

Image Source | These images do not belong to Yaaya. Images courtesy of Antonietta Torsiello.

Friday, November 15, 2013

Navigating The World Of Art: Being Young, Female And Black

"I never realised
that you could
get so much
by just
asking."

In Part 2 of this three-part interview, we explore the realities of being a young, female and black artist, as well as the general challenges that exist with being an artist. We also learn about Antonietta's commitment to promoting the arts amongst young people, and her dreams of starting a business to achieve this aim.

And so the conversation continues …

Yaaya:
Is it important to you to reflect your heritage in your work?
Antonietta T:
I try to illustrate a lot of my heritage in my work, especially being the kind of person I am. Growing up, my mum was a socialist. I’ve been going to demonstrations and things like that with my mum since I was 6 years old, so I’ve always been quite conscious. I know where I come from, so it’s really important.
Yaaya:
What is your background?
Antonietta T:
My mum is Jamaican and my dad is Italian.
Yaaya:
In your pre-interview form, you state that you want to promote the arts among younger people. Why is this important to you?
Antonietta T:
It’s important because a lot of young people are losing faith in different things. I went to a Secondary School in Newham, and I’m not criticising the school but I wasn’t supported. I knew that I had learning difficulties, and any time I tried to get help for it, no one wanted to help me. They would say I’m disruptive instead of helping me.

Nowadays, I think it's even worse because there are cuts in funding to youth centres and other provisions for young people. So it’s easy for young people to say that “I’m just going to do an apprenticeship”. I’m not saying that apprenticeships are bad, but they should believe that they have different options. Further and Higher Education shouldn’t just be for rich people. Young people need to be educated in a lot of different things. Young people are pushed towards subjects like business or the sciences, and that’s fine, but it would be nice for them to value the arts. That’s why I want to promote the Arts among younger people. They should have options, a lot of options that I didn’t have. I now have the opportunity to do this for young people.
Yaaya:
That’s really inspirational. Have you done any workshops with young people?
Antonietta T:
I’ve done children’s art workshops, but I want to do workshops where I combine practical activities with talks. I would like to talk about a particular subject, or the children can bring up a subject, and we can talk through it, and then move onto a practical activity. I want to combine the two to get young people thinking a bit more.
Yaaya:
Yaaya is interested in hearing about the experiences of black women in certain industries, and issues to do with social invisibility. What is it like to be a young, female black artist?
Antonietta T:
It’s hard. I’m not going to lie. It’s really hard. Luckily I have the support of my mum who supports me so much. I doubt myself a lot, and I now believe in myself a lot more because of her. Some people are not lucky enough to have that support. I’m really lucky.

Going back to the question, it can be difficult sometimes because when people see my work at an exhibition, I sometimes step back to see what they think about it. I listen to them, and then go and speak to them, and they just look at me like “who are you?” They don’t believe that it’s my work!
Yaaya:
Why do you think that they feel it is not your work?
Antonietta T:
I don’t know. Maybe they don’t think I’m capable producing the work I do. It is disheartening at times. Sometimes you just have to show them, and that’s what I’m doing. I want to change the situation for young black female artists. We do get opportunities but not as much as men. Art is a very male dominated sector. Sometimes it seems that if you want to get some attention, you have to do random and controversial stuff like Tracey Emin with the beds. Have you seen it?
Yaaya:
No. Can you explain what this Tracey Emin did?
Antonietta T:
She did an installation of her bed, which had clothes thrown over her bed, along with used condoms, dirty knickers and pads (sanitary towels). Next to the bed, there was a list of all the people she slept with in her life. It’s tempting to think that this is the sort of thing women have to do to get noticed in this industry. It’s just ridiculous, because obviously I’m not going to do something like that. It’s just not who I am. Fair enough that is who she is, as her other work is quite mad as well.

It’s just difficult for artists not to do crazy things. It’s hard for women because they don’t get recognised as much as men. I don’t see it changing right now to be honest. If you think about it, there are not many female artists you can think of, off at the top of your head. When you think of artists, you think of people like Picasso and Leonardo da Vinci. I think there may have been women in those times who were doing art, but are not mentioned. It’s really sad. I think in the future it will change. That’s one of the reasons why I want to expose art to young people, so they begin to develop an awareness of art at an early age, and when they get to my age they would want to help someone else.


Yaaya:
You spoke of your mum being a great support to you. Do you have a mentor at all?
Antonietta T:
I don’t have a mentor at the moment. I do have people who I get advice from, but not necessarily a mentor. Once I start on the Prince’s Trust course they will place me with a mentor in my sector which I’m really looking forward to.
Yaaya:
Are there any artists or textiles designers you look up to?
Antonietta T:
The artists I look up to the most are a duo. They are a married couple called Eley Kishimoto. They are really amazing. The woman is Japanese and the man I think is either British or American. You should check them out. They just don’t do textiles, but they also make clothes, and work with other companies. They have worked with a company that produces motorbike helmets, and they did the design for them. That’s the type of stuff that I want to do. You know just random stuff, and collaborating with different people, and making different products. I’m thinking too far ahead, but it’s good to be ambitious.
Yaaya:
We’re aware that you would like to start your own business where you sell your framed art and interior furnishings with art prints on them. What challenges and opportunities exist in the art world for artists, and those that sell art?
Antonietta T:
Marketing is a big challenge for artists. It’s the main challenge. I’ve seen how a lot of talented people struggle to sell their work as they don’t know how to market it, or they are not marketing their work to the right people. They are marketing their work to people who like it, but can’t afford it, or like it, but just don’t buy it. That’s the struggle for artists a lot of the time, and there isn’t enough time in the day to market your work. Unless you know someone who is a computer whizz, it can be difficult. Even me, I’m very good with computers, I know how to put my work on websites and blogs but its still hard.

Doing it on your own is difficult, because you’re focusing on the creative side, which is your work, and you have to worry about the promotional side, and whether people will turn up to your exhibition. That’s the other thing, I spend seven hours on the computer everyday working on marketing my work, and I feel that takes away from what I need to do creatively.
Yaaya:
And what about opportunities? What opportunities exist for artists in the art world?
Antonietta T:
There are opportunities in the art world, but you have to just ask! I never realised that you could get so much by just asking.

Talking to people is one way to get a lot of opportunities, because you never know who you may meet. For example, I was talking to one lady on the train recently, and she asked me to pass her a newspaper and we ended up just speaking to one another. I found out that she owns a really big gallery in west london, and she was asking me to send her some of my work. I wasn’t even going to speak to her but I thought let me just be nice and talk to her. You can’t tell by just looking at someone what they have, or who they know or anything like that.

On the 17th November 2013, Yaaya will post the final part of our conversation with Antonietta. We will find out more about the impact Antonietta hopes her work will achieve, her love for Africa and Newham, and future projects she will be working on.

Image Source | These images do not belong to Yaaya. Images courtesy of Antonietta Torsiello.

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