Moving through manipulated pasts
Shirine Shah responds to Flesh and Paper (1990), a lyrical exploration of the sense and sensibilities of Indian lesbian poet and writer, Suniti Namjoshi, directed by Pratibha Parmar.
To hold, to touch and to shape Black Scottish history
Eilidh Akilade
Her hands bloom outwards again and again. Another’s hands clasp mid-air before sinking to the right, sweetly. One hand – of another, still – holds their fingers tightly and then suddenly detaches, spinning out in circles. And the left hand of another comes under the right and it is held, supported, by that which is its sistren, its brethren. It relaxes before springing upwards, fingertips splaying, signally a new thought for Maud Sulter and for us all.
Finding sacrality in the city
Radha Patel
The opening scene of Cecilia Lim’s audiovisual poem, Pagpapa(-)alam: To Wish You Well, So You Know shows a care worker helping their elderly patient walk down a street. It is an image that feels hopeful; the future reflected in the present. Tenderly shot in Queens, New York, and captioned in three languages, Tagalog, Spanish and Bangla, the three and a half minutes that follow juxtaposes images of women from these communities cooking, caring and praying for each other.
Communing with our ancestors to sever the past
Memuna Konteh
Journeying through dense forest into open fields, Mojereoma Ajayi-Egunjobi calls on Omolore, her mother’s mother who she never knew. She does not need a conversation partner, but a witness, an accomplice on a path paved with pain and promising freedom. Dear Omolore is testament to the power of poetry and film to distil otherwise indigestible emotions.
The space of grief between us
Ojo Taiye
I was a thirsty traveller in the bustling city of Benin, Nigeria, when I was sent Back on Home Soil to watch. At first, unable to wait, I skipped through the reel, and then finally home, sitting in my parlour after dinner, I settled to watch it.
On oil, Drexciya and building pressure
Eilidh Akilade
It is left unsaid: Drexciya. I clasp it in my hands and it is as if I have held it before.
Drexciya rests on the seabed, beneath the ripples and the tides. From ships, the pregnant Africans were thrown overboard, their children then birthed into the sea. The water babies swam down and made their world at the very bottom. Drexciya.
The power of orating our histories
Georgina Quach
Still We Thrive, written and directed by Campbell X, ensures we never look away from the past. It brings together contemporary Black actors speaking to camera with archive footage of Black history from the Caribbean, United Kingdom, United States and the African continent. As poet Elizabeth Alexander said, for so long, communities of colour have had to “carry around knowledge and stories in our bodies,” because resources were not devoted to preserving the spaces that held those stories and culture.
Burning flags and banishing colonial dust
Georgina Quach
In Suffocation, sunlight feels harsh. Harsh in the sense that we have been kept in the dark for too long. We, scarred by racism and empire, welcome the sun: it exposes “colonial dust” – what is left in the wake of the bombs, deforestation and destruction used to maintain the mythscape of colonialism.
A quiet, queer reclamation of nature
Theophina Gabriel responds to black queer nature poem for khadijah (and all of us), a gentle performance film by Mae Diansangu and one of Fringe of Colour’s 2021 commissions.
From Nigeria to Brazil: Unravelling violent diasporic legacies
Nathaniel Brimmer-Beller responds to Agudas, a film by Amber Akaunu that tries to make sense of a painful family history linking Afro-Brazilians to Nigeria, mixing poetry, animation and the archive.
An ode to the velveted lives of our elders
Andrés N Ordorica responds to Velvet by Ofem Ubi, a poetic appreciation of his grandpa in the form of a gentle and introspective black and white film, focusing on texture, routine and ageing.
Living in the margins with chronic pain
Asyia Iftikhar responds to Transitions II: Moment in Isolation, a film by Tobi Adebajo that pushes the boundaries of bold, rich and wistful storytelling and depicts the daily realities of living with chronic pain.
Interrogations of safety, freedom and solitude
Andrés N Ordorica responds 5 WAYS 2 RUN, a Jasmine Kahlia Multidisciplinary Installation Piece featuring original electrifying music, spoken word and striking citscapes.
A story of cycles, movement and language
Rho Chung responds to Hypnagogia Glossolalia, a film by Sekai Machache who presents a stunning combination of dance and several spoken word poetry pieces narrated in both Gaelic and Shona.
Scotland, legacies of slavery and unpacking family histories in front of white audiences
Lisa Williams responds to The Drift by Hannah Lavery, a poetic journey through history, Scottishness, belonging and grief, and a Fringe of Colour 2020 Commission.
The revolutionary act of writing only for yourself
Georgina Quach responds to Silk, a filmic poem by Martha Williams that provides a manifesto of defiant beauty, made as part of the Sorry I Was on Mute series.
Iranian immigrant identities are much more than your Orientalist fantasies
Anahit Behrooz responds to Marjorie Lofti Gill’s poetry film They Want, which challenges demands for trauma and was part of the Sorry I Was On Mute series.
Exploring the queer nature of healing
Asyia Iftikhar responds to plant portals: breath, a film by Nicky Chue who presents an experimental meditation on the concept of “rest” and asks: “Can nature heal us?”