A Note from Richie Manu

A note from Richie Manu

Autonomy, activism and art direction are all very pertinent domains in their own right. Yet in this space, the intersection and relationship of the three elements brought together in this publication offer refreshing, dynamic cultural perspectives that bring new light and insights within the contexts of race, gender, identity and socio-economics. This publication does not just serve to provide definitions but to instead explore the often feral, yet dignified accounts and vantage points from creatives of colour within the frameworks of each key term.

In this arresting, thought-provoking, unapologetic collection of essays, the authenticity of the contributors provide an often immersive read that transforms you into the space, time and mindset of the writers. And while the punctuation of visuals, photography, art and creativity provide context and visual stimuli, we must be reminded that the presence and dominance of the written word remains the anchor for discourse around the paradigms of autonomy, activism and art direction. The contributors are truly a community of practice, but also evidently a community of action and more importantly – reaction. None of the pieces here are designed or written to be passive creations. In fact quite the opposite. They are the catalyst and continuation for discourse, action, discussion and reflection that foster empathy, contemplation and deeper meaning within the words and images. The contributors are all congruent with the themes of the book and bring an element of unity through their individual voices.

To set the context, this publication is preceded with some key data that makes for uneasy reading. And rightly so. This is the harsh reality of a landscape that by definition presents issues of imbalance of representation, lack of diversity, injustice and ignorance. However, this data must not be received in a negative light, but conversely to act as impetus and stimulus for change.

Real change.

Meaningful change.

Positive change.

While the data presented is numeric and statistical, the following narratives, stories and essays unearth the qualitative prose and authenticity that is so often missing from the percentages.

Key Questions are punctuated throughout the publication and provide a unique opportunity to gain perspectives from the various contributors. The interviews are not just revealing but also demonstrate and celebrate the knowledge, expertise and cultural nous that the writers possess. Throughout the publication, we have a unique opportunity to glean very different perspectives from contributors from the same gamut of questions. It is a wonderful opportunity to gain different insights on the same lines of enquiry.

The essays in this publication meander elegantly through the themes of autonomy, activism and art direction with the occasional piece that provides an amalgam and intersection of all three facets. It leads with a visual narrative and demonstration of art direction by Bee Smith and Julie Wright in a piece that examines the narrative that surrounds black women from the diaspora through dance. Here they challenge the stereotypes, stigmas and misconceptions around dance, while embracing the connectivity and bond that movement evokes. The images displayed not only capture the movement through dance, but also the inclusion of the rich tapestry (literally) provides a rewarding cultural context. While each and every contribution commands its own space and time, the pieces all tie-in relevantly to the fields of autonomy, activism and art direction.

Art direction in this context is also presented through ‘a period of intentional selfdiscovery’ in Chizitalu Uwechu’s piece ‘Agbogho II’ where she discusses the importance of authenticity; ‘Having a unique vision, a vision specific to one’s heart or mind and bringing it to life can only be authentic’. This attribute of authenticity carries throughout the book publication and into ‘The House Party’ by Favour Jonathan, where she describes a simple video that was triggered by her own experiences in of conversations society is not ready to speak about. While authentic in its own right, this is a powerfully written piece that holds a mirror up to society yet channeled through the visceral command of creativity.

Inës Mourào offers a stand-point that explores the intersection of art direction and activism by stating that art direction has a unique role in introducing new thoughts and perspectives to the mainstream or by changing pre-existing ones. Additionally, she asserts that art direction can foster a practice of questioning with the potential to develop into activism.

Another highly thought-provoking amalgam is presented by Shannon Bono in her piece, ‘Body’. Here she introduces us to the phenomena of ‘Artivism’ – combining art and activism in what she calls an attempt to ‘push political agendas through art whilst raising social environmental and technical awareness’. The exploration of the black female body as a source of education and liberation is very powerful indeed especially when Bono places herself within the frame of activism and artivism her own ‘artivism’.

In Sola Olulode Rayvenn Shaleigha D’Clark’s essay, ‘Autonomy in Contemporary Art Practice’ is discussed and leads begins with a definition of autonomy as ‘the right or condition of self-government and complete freedom from external control and influence’. While the notion of autonomy presents itself in a progressive light, Olulode D’Clark is also realistic about the obstacles of social pressure and socio-economic difficulties that remain at the forefront of autonomous practices.

Perhaps one of the most revealing and thought-provoking contributions in this publication comes from Gold Maria Akanbi as she explores, discusses and unpacks the notion of ‘Blackness’. In this highly reflective and emotive piece, the spectrum of ‘Black’ from a cultural identity to political and social constructs is examined. Here she questions who controls the narrative of being ‘Black’, often alluding to the misinterpreted and skewed political (and geographical) constructs served by the media and popular culture. Interesting that she concludes with the notion of Blackness not as a cultural or geographic identity, but more so an emerging and visible presence in society making modern references to Edward Enninful, Meghan Markle and the ‘Blacked up’ Windsor Castle!

A truly compelling read.

In one of the most visually arresting works in this publication, Kourtney Paul Stuart- Mason’s contribution, ‘Diversity Report’ exercises artistic license and agency to unearth an emotive narrative drawn from Diversity Reports. The powerful visuals transcend beyond the canvas and into the consciousness of the reader. This ability to enable the viewer to really stop – read – pause – consider; successful in changing the original delivery of information from the diversity reports into something that creates a space for dialogue and a more deeper understanding of the issues that face students of colour in Higher Education. The work also explores identity and the close relationship between being Black and a ‘Black Artist’. It is interesting that the facts and data presented in the works are repurposed and given a totally new context, and while retaining their dignity in the piece, the artistic delivery and dynamic commentary is unapologetic, direct and a true call to action.

These are just a small selection of the contributors you will discover in the following pages and I trust you will enjoy reading through the various works presented in this publication. But I ask you to see these works, not as a starting point but as stimulus for continuation of discourse and action.

Please also take a moment to read through the key terms first before reading through the works as they serve to provide context and more informed meaning.

It was a real pleasure to read through each and every piece as well as being drawn in to the immersive visual content. I learned much reading through the various contributions. As an academic, writer and broadcaster, I am always enthused by the energy, dynamism and creative excellence of artists and I consider myself to be highly fortunate to be in a space where I can continue to learn from active participants in my creative community.

I would like to personally thank all the contributors for their generosity in participating in this publication.

I would also like to thank Shades of Noir for the opportunity to Peer Review this publication.

Richie Manu MA, FHEA, PG Cert Lecturer | Writer | Speaker | Broadcaster |

@richiemanu