Born in London to Zimbabwean parents, Rachel confesses to experiencing racism and discrimination in the UK, yet she still considers it her home, "despite feeling unwelcome at times."

The album cover, featuring England flag bunting outside a London estate similar to her childhood home, reflects her background and life, with Rachel explaining, "It definitely represents my background, my home, my life."

While acknowledging the criticism, Rachel remains steadfast in her creative choices, asserting, "If art makes you question a little bit, it's doing the right thing."

Photographed by Yana Van Nuffel & Lauren Harris

More Images: https://x.com/harrisonjbrock/status/1764632201662967882

https://www.instagram.com/p/C6f7dAJNnA7/?img_index=10

Although Silky Sammy's artistic journey only commenced in June 2020, he has since wholeheartedly embraced art as a lifelong pursuit, constantly striving to push his creative boundaries. One of his thought-provoking pieces, "Everything I Am," contemplates the multifaceted nature of human existence, encompassing not only the physical components like the skeleton and vital organs but also the intangible essence of the soul. Through his art, Silky Sammy invites viewers to ponder the complexities that shape our identities and experiences.

Identity is a multidimensional concept that encompasses various facets of an individual's sense of self, shaped by personal attributes, social connections, and life experiences. For Yoruba Gen-Z individuals in Britain, their identity is intricately woven from the interplay of their cultural heritage, personal narratives, and the complexities of navigating multiple worlds. Their physical traits, such as age, gender, and appearance, contribute to their self-perception, while their Yoruba roots instill a deep connection to traditions, values, and customs that have been passed down through generations. Simultaneously, their experiences as part of the British Gen-Z cohort expose them to diverse influences, shaping their worldviews, beliefs, and group affiliations. The roles they assume within their families, communities, and social circles further mold their identities, creating a rich tapestry of personal and collective narratives. Moreover, the unique challenges and triumphs they encounter as young individuals of Yoruba descent in Britain profoundly impact their evolving self-awareness and self-confidence. Ultimately, their identities are dynamic, constantly negotiating the intersections of their cultural backgrounds, personal journeys, and the ever-changing societal landscapes they navigate. Through rigorous questioning of my own upbringing and environment, I aim to capture part of the multifaceted essence of cultural hybridity within my own life.

The vibrant colors and intricate patterns of the Yoruba garments symbolize the rich cultural heritage they carry within, while the bustling modernity of the subway station represents the contemporary Western influences that shape their identities. As the women gracefully traverse this liminal space, their journey mirrors the constant negotiation between tradition and modernity that second-generation Black British Gen-Z individuals of Yoruba descent experience. Animashaun's work invites viewers to contemplate the complexities of forging a hybrid identity, where the ancient and the contemporary coexist, creating a unique cultural tapestry that defies rigid boundaries.

outside a shop with a scooter with a “wrappa” which created a large discussion amongst

the diaspora. I interviewed him about this viral moment, as it recently resurfaced as a

result of him referencing it on his new account, to get his thoughts and an insight into his

cultural hybridity.

Initiated by Tols Abeni, a Black British Nigerian herself, the project serves as a platform for engaging with fellow self-identifying Black British Nigerians in exploring the ever-shifting dynamics of their hybrid identity within a broader sociocultural context . By providing a space for dialogue and representation, "We are: Black British Nigerian" seeks to encourage further exploration and affirmation of this multifaceted identity among those who resonate with its complexities. The project's multimedia approach, encompassing interviews, visual art, and other creative expressions, reflects the diverse and multidimensional nature of the Black British Nigerian experience, transcending singular narratives and embracing the richness of this diasporic identity.

He writes "The colors, the designs the vibrant patterns. All these people had that in common thousands of years ago. Maybe its the natural connection with the land. Maybe that’s the language of the indigenous people everywhere: colors, warmth and fabrics made with love. Maybe this is how they connected with the land. with colors, with love with history and memories and roots."

This sentiment I feel elevates some of the ideas that Don described within his own interview. The sense of connection one feels donning clothing that represents your heritage in a environment that can be considered its polar opposite.

As such when designing these questions for the participants of the Rootz documentary I took this into mind and tried to tailor it towards more narrative and qualitative driven responses. I tried to make sure these questions broke down the elements of cultural identity into digestible segments.

Through their dynamic use of bold colors and deep black strokes, PG Picasso's art transcends mediums, ranging from fictional caricatures to realistic oil paintings. Each piece is a vivid expression of their thoughts and emotions, inviting viewers to immerse themselves in the artist's unique perspective on cultural identity.

Whether depicting whimsical characters or capturing the essence of lived experiences, PG Picasso's work is a testament to the endless inspiration found in the world around them. Their art serves as a bridge, connecting viewers to the artist's journey and the myriad of cultural influences that have shaped their artistic vision.

A piece that particularly resonated with me was one called 'you exist in the context of all in which you live and came before you' made with colour pencil on paper. Which features the artist in a room looking back at portraits on a wall which are wearing west-African headwear. My interpretation of the illustration is that they have superimposed their face on what would typically be portraits of parents, grandparents or ancestors, showing the metaphysical link and connection between the past and present. In addition, this piece connected with me as I personally tweeted months prior a similar statement, which said "who are we but an amalgamation of those around us, before us and the people yet to come?"

The film delves into the vibrant world of studio photography in Ghana's small fishing towns, where the photographer's studio serves as a cultural hub for capturing and preserving personal narratives. Through the lens of these photographers, the film unveils the intricate ways in which individuals construct and project their identities, aspirations, and cultural affiliations.

This notion of visual self-representation resonates deeply with the experiences of second-generation Black British Gen-Z individuals, who navigate the complexities of their hybrid identities. Just as the Ghanaian subjects in the film adorn themselves with the latest fashion or pose with cherished possessions, these young Britons often employ visual mediums to assert their multifaceted cultural heritage and challenge societal perceptions.

"Future Remembrance" not only showcases contemporary photographic practices but also traces the historical lineage of black and white photography in Ghana. This duality of past and present offers valuable insights into the continuity and transformation of visual traditions within diasporic communities.

For second-generation Black British Gen-Z individuals, this exploration of visual traditions holds particular significance. As they grapple with their hybrid identities, they often seek to reconcile the cultural legacies of their ancestors with their lived experiences in contemporary Britain. The film's examination of the evolution of visual practices in Ghana serves as a powerful metaphor for the dynamic nature of cultural expression and the ability of art to bridge generational divides.

"HNPM, delivers a similarly vivid snapshot of modern-day Lewisham. Laid down by a kid born in the local hospital and raised in a household of Nigerian descent, the tape plays like an anthology of stories from southeast London’s streets, with a cover featuring spliced images of the community for extra home pride" [1]

In particular, songs like "eye tell(!)" that mixes together an indie guitar sample, afrobeat percussion and typical dance bass and drum pattern that all surprisingly fuse together seamlessly.

More obviously in the intro of his song "mileys riddim" he samples the voice tag line of a Nigerian website called "iROKING".

iROKING is a free digital music streaming service originating from Nigeria that provides users with access to a curated selection of musical content from various African record labels and artists. Users can navigate and discover music on the platform through direct searches, as well as by browsing categorizations such as artist, album, and user-generated playlists. This small but significant sample in his song was a powerful call to many of the Nigerian diaspora who grew up listening to Nigerian songs via iROKING and would be subjected to the voice line at the beginning of any stream.

When interviewed by Equate Magazine, Jim was asked

"In your last EP, you’ve touched upon your heritage, especially your dad being an immigrant from Nigeria. Has your heritage shaped you in any way as an artist, and how?"

To which he answered:

"My heritage has shown me a lot of good traits and values growing up such as sharing & overall kindness in general, but I think in a country like this it’s also led to a lot of mistreatment purely due to the deeply integrated ‘anti-blackness’ in the UK. The pain that comes from that will always be present in the sounds but also a lot of the positive traits like loyalty is something that’ll help me a lot on this journey I’ve embarked on."[2]

[1] Nguyen, D.V. (2023) Cover story: Jim Legxacy is going places, Crack Magazine. Available at: https://crackmagazine.net/article/profiles/jim-legxacy-cover-story/ (Accessed: 13 April 2024).

[2] Küenzel, A. (2020) Jim Legxacy, Equate Magazine. Available at: https://equatemagazine.com/jim-legxacy/ (Accessed: 13 April 2024).

The image is a focus on motherhood and maternity through generations. My grandmother stood as figurehead amongst my family and my own mother has been crowned as her successor especially around and after my grandmothers passing.

The image placement illustrates the continuity of the love that is passed onto me as well as honor and legacy of my grandmother to my mother.

The form of the glyph vaguely resembles a person, with there being a head, torso and legs. I correlated the head/top third to the idea of self or the "ego". The body to outer image and how one expresses themselves externally and finally the legs/feet representing "roots" and heritage from which you came.

Following this semiotic figure I created in "Culture Contrast" and added narrative to in term 1, paired with the ideology of “The Archaeology of the Self”

I combined the theoretical frameworks of both to act as a structure for the visual outcome of my project. I crowned this concept "Rootz" which is not only a reference to the feet of the glyph I created but also to do the 1977 American miniseries "Roots" by Alex Haley.

I started by opening my baby photo album, locating archived pictures of my parents that I took from Nigeria last summer and scouring the SD cards of old digital cameras. I scanned these images at high DPIs and centralized the other images and curated them under the premise of images that show my upbringing, family, Nigerian culture & British culture.

I scanned these drawings in used the threshold effect to better contrast and sharpen the line work, I then aligned them on top of each other and placed a gradient map over the top. Once then I turned these into frames and animated as a loop to show the effect of growing older.

This animation served as a foundation for my artistic response to my dissertation topic.

By placing a photograph of myself today, dressed in contemporary Western fashion, alongside an image of my childhood self draped in vibrant, intricately patterned Yoruba clothing, I can visually represent the coexistence and interplay of these two distinct cultural influences. The juxtaposition of these contrasting visuals invites viewers to contemplate the complexities of navigating multiple identities and the constant negotiation between traditional and modern values.

The themes of honoring one's roots, cherishing familial bonds, and celebrating the sacrifices of our matriarchs transcend geographical boundaries. Just as Nichols immortalizes her mother's essence in verse, I too have found solace and inspiration in the unwavering love and wisdom of my own grandmother. The overlapping experiences of diaspora communities, the shared struggles and triumphs of women across generations, and the universal language of love and respect for our elders create a bridge that allows me to connect with Nichols' poetic tribute.

I recited this poem to my grandmother on one of her birthdays, honoring her as a pillar of strength and a keeper of our cultural heritage.

I was able to film parts of my trip on the camcorder, however it being my first time in Nigeria in 10 years, I was reluctant to always have this camera on display, paired with infrequent access to electricity meant that it was not always available to me as I could not charge the batteries.

In addition to this another problem arose in which overtime the tape heads of the camera had gone bad and had a habit of damaging any tape inside. This did mean that my Nigeria footage was slightly damaged and this did cause some glitching when rendering. To combat this, I purchased a clearclick converter and created a tapeless rig for my camcorder set up.

Whilst organizing the conception of Rootz, I came to the conclusion that I wanted to shoot all or a majority of the documentary on this camera and in miniDV format.

The scale, placement, and overlapping of images can symbolize the hierarchies, parallels, and interconnections between my Nigerian roots and British influences. For instance, a larger image depicting a traditional Yoruba ceremony could be juxtaposed with a smaller snapshot of a quintessentially British scene, representing the dominant role of my cultural heritage while acknowledging the presence of my adopted home. Alternatively, overlapping visuals of Nigerian and British landscapes or cultural artifacts could signify the blending and coexistence of these two worlds within my lived experience.

By strategically manipulating the visual elements and their relationships, I can craft narratives that explore the complexities of navigating dual identities, the challenges of cultural assimilation, and the richness of embracing a hybrid existence. My designs can celebrate the unique perspectives and experiences that emerge from straddling two distinct cultures, inviting viewers to contemplate the nuances of cultural hybridity and the multifaceted nature of identity formation.

After this, I realized some questions were either redundant or repetitive in nature, so I only opted for the ones that yielded relevant answers and used these for the final questions that I ask participants of my mini documentary.

I also designed and animated these questions for the title cards of the film.

Imitationalism could evaluate how accurately the artwork represents or mirrors elements of Yoruba culture, assessing its realism and attention to detail in depicting cultural symbols, practices, or aesthetics.

Formalism would focus on the artwork's composition, use of design principles, and manipulation of materials to convey the hybrid cultural identity, examining how formal qualities like color, line, and texture harmonize to create a cohesive visual expression.

Instrumentalism might consider the artwork's ability to spark dialogue, challenge perceptions, or educate viewers about the complexities of navigating multiple cultural influences as a second-generation Black British youth. Emotionalism would prioritize the emotional resonance and expressive power of the artwork, judging its success in evoking feelings that capture the lived experiences and sentiments tied to a hybrid Yoruba-British identity.

By employing these varied theoretical frameworks, one can comprehensively analyze how the artwork authentically represents, aesthetically conveys, intellectually provokes, and emotionally connects with the nuanced cultural experiences of its subject matter.