The last few months have been very busy. No idle moments during lockdown. I worked on visual arts and literary projects, building on existing relationships and creating some new partnerships.
More than a decade since winning the Orwell Prize, I was invited to Chair the Orwell Prize for Fiction, 2021. We read many stunning novels, produced a high-quality international shortlist and ultimately decided on Ali Smith’s Summer as the winner.
Another literary project that I enjoyed working on was the English Pen’s Anti-Racism Audit(https://www.englishpen.org). And, an off-shoot of that consultancy work, an engaging Writer’s Event, chaired by Dean Atta for Scottish Pen’s Black Writer’s Group!
One of Britain’s greatest artist, JMW Turner, was the focus of my introduction working as a consultant with the curators of Tate Britain. I was thrilled to be involved in bringing Turner’s Modern World to audiences.
ttps://www.tate.org.uk/whats-on/tate-britain/exhibition/turners-modern-world
I took part in Dr Panjwani’s Women and Shakespeare Series: http://www.womenandshakespeare.com
Genuine Fakes, an interdisciplinary symposium, Oxford. The series was launched and promoted at TORCH at the University of Oxford, initially on their youtube channel.
The literary and cultural work of Jamaican pioneer Una Marson (1905-1965) continues to inspire another generation of black artists and feminist thinkers. The National Theatre’s Black Play’s Archive interviewed me about her work.
Una Marson Podcast
Ayesha Caseley-Hayford for Equal Stages, a theatre project, also recorded an interview with me on Una Marson in July 2021
Shakespeare, and especially investigating the diverse aspects of the Bard’s work, has been one of my research interests since writing Moses, Citizen and Me. In 2018, an all-women of colour production of Richard II was performed at The Globe, directed by Adjoa Andoh who also played the lead, and Lynette Linton. Along with my friend and colleague, Dr Varsha Panjwani of NYU, I presented the Public Talks at the Globe. Published here: ‘How did we get here?’ in Otherness Journal on Richard II at The Globe, London.
Visit www.otherness.dk/journal/otherness-essays-studies-82/
In 2019 Margaret Busby published New Daughters of Africa: an international anthology ofwriting by women of African descent, showcasing the work of more than 200 women writers. (Myriad Editions, 2019). Delia’s historical piece, Bedford Women, exploring the London University experiences of 19 th century African American anti-slavery activist, Sarah Parker Remond, Delia’s sister, Daphne, and Margaret Busby, was later selected for the German Neue Tochte Afrikas (Stimmen Afrikas, 2023). To celebrate the publication, Delia was invited to Colone where she took part in a lively panel discussion on black feminist writing, and at a high school event, was in conversation with South African artist and academic, Donna Kukoma.
Follow the link below to read the full Research and Report by Magdalen Gorringe, Delia Jarrett-Macauley and Anita Srivastava:
Adjoa Andoh and Lynette Linton co-direct a women of colour cast in a post Empire reflection on what it means to be British in the light of the Windrush anniversary.
This autumn I’m assisting the cast and creatives of Richard II through a series of R&D workshops. We are reflecting on the text, discussing the history of black Shakespeare performance and considering issues of race and representation, identity, gender and feminism by looking at scholarly and creative texts. It’s exciting to be part of a real production and to share insights with people eager to hear and use them.
Eating At the Same Table is a new collective of young emerging artists of colour. Founded in September 2017 by Bold Tendencies’ Director of Education, Sasha Morgan and burgeoning multidisciplinary artist Rochelle White, the collective is supported by Bold Tendencies as they work to offer the grass roots support & guidance creatives need as they navigate an art world that can often seem all too intimidating to the uninitiated.
With researchers Anita Srivastava and Magdalen Norringe, I’m undertaking a feasibility study into the establishment of a South Asian Dance Degree on behalf of Culture Central, Birmingham. Twenty years ago, I wrote the Arts Council England’s report on South Asian Dance in the UK in which structured training and professional development were key issues. I’m pleased to be able to return to this sector, which has grown and progressed, to see if formal education at the tertiary level is feasible.
