Maokwo: an update
I met for dinner with a fellow, Acumen Fellow in the second week of July. During our meal, I shared that I am in a season of growth, and it’s a lot stretching various new muscles with @Maokwo and @LauraNyahuye. She suggested, "Why not write a blog? Get it out of your head," particularly about my journey to this point (this October, I'm set to begin a PhD journey at the University of Birmingham.
I've been working on this blog for weeks, repeatedly starting, stopping, and deleting content. Little did I know that riots concerning migrant populations were about to unfold.…
Yesterday, my daughter asked me, ‘Mommy, what do I take to the shops in case I’m attacked’. Thankfully, she came back home physically unharmed, however, what she said when she got back home, broke my heart. She said every time she saw a white person she was petrified… seriously, how did we get here!!!?
Well, sadly the riots are just a public manifestation of what people like us have historically experienced, in multiple ‘decorated’ ways.
This blog is not about the riots. It’s an update @Maokwo and reflective thoughts that show our research interest.
As an artist, my journey has led me to become a Founder, Creative Visionary, and advocate for migrant communities, shaped by my personal experiences as a marginalised black migrant artist and woman in the UK. On the other hand, I am convinced that I was born to do this. Multiple events led to the creation of Maokwo and I will be exploring all of this during my PhD at the University of Birmingham.
Maokwo is currently seven years old and will soon turn eight. My 23 years in the UK, coupled with 14 years of experience working in the cultural sector, practicing as an artist, being a sole parent, and service user, have taught me a lot.
Migrant communities are confronting a multitude of challenges, underscoring the importance of sharing examples that illuminate the reasons behind Maokwo's and my journey. The present state of the UK’s affairs has further reinforced my conviction in the significance of the field I am about to research.
I intend to prompt you to pause and consider the question: What is a migrant? After reading, consider what systems are in place to support marginalised migrants compassionately within our country, schools, workplaces, and daily interactions. What are we collectively doing, what are YOU doing? When you encounter a migrant, whether they are first, second, third, or subsequent generations, what do YOU SEE?
What is a migrant?
According to Oxford Dictionary a migrant is- A person who moves from one place to another, especially to find work or better living conditions.
I am a female migrant, and this is how I describe a migrant... ‘A migrant is a risk taker, a visionary, an individual who is willing to take that leap of Faith to partake in whatever. is on the other side. It’s an individual who has the conviction there’s more. They are bold, courageous, and resilient.’
The world is shrinking. As people migrate to different continents, fleeing war, environmental challenges, economic instability, or by choice, the reasons are endless, after all, we are all humans sharing the same planet. Whether we acknowledge it or not. We, migrants, are also labeled; we walk right into them, ready-made, before we get the chance to put our suitcases down. Upon arrival, the labels are waiting for us: Refugee, asylum seeker, immigrant, benefit grabber, economy breaker, international student, the list goes on... Of course, there is a hierarchy; for example, an expat is considered the crème de la crème of migrants. Interestingly, within discriminatory labels, there exists a hierarchy based on skin color, country of origin, language, and accent. The darker the skin or the less affluent the country, the harsher the label and the more hostile the treatment. Essentially, the perceived value of life and dignity decreases for those of black ethnicity—for instance, dark-skinned migrants from Africa tend to receive worse treatment than their white-skinned counterparts.
Picture this: a 15-year-old young man lands in the UK today from Eritrea. He goes to school a week after and here is their community perceived profile: Black, male, foreign origin, medium height, hoody, potential drug dealer, fatherless or father is in jail, be careful in case they are carrying a knife/gun…
His name is Tich, and his mom and dad have gone into hiding due to their political involvement. Tichl had to flee his home because his life was in danger. He has come to the UK to live with his aunt (a single mother raising her 3 children) who is already settled in the UK. Tich is medium height, and he loves Eritrean traditional drumming, he’s been drumming since the age of 3, and he took to it like he was born with a drum in his hands. He dances to the rhythm of the beat as if the sound itself is the blood pumping in his veins. He is considered a wonder in his village. The village is close-knit, and everyone knows everybody. Tich knows that his village people are the eyes and ears no matter where he goes out to hang out with friends. He also knows that if his household runs out of salt, he can run across the road and their neighbor will give them a cupful of salt, and vice versa. Tich is a child being raised in a village. He carries intangible cultural assets. As Tich joins his aunty in the UK, her ultimate focus is to feed her 3 children and keep them safe he’s trying to guide them in the right path, away from the generic news/stereotypes of black children in the UK. Tich’s aunty is working hard to make sure that her now 4 children (including Tich) stay focused, go to school safely, and come back home safely, not to mention the financial support that’s expected of her in Eritrea. he needs to focus. Hopefully, the 4 children will work hard enough to go to university if there is government support. (Make sure the university degree choice is a degree that has a guaranteed job security) At least they can help her and the families in Eritrea financially…
Tich quickly settles and learns the ways of the UK and his intangible/untapped cultural assets stay dormant. The same goes for the next generation after him…
The colonial/capitalist mindset is a big player in this way of thinking and being. Interestingly, no matter how colonial or capitalist a system or country is, these two players cannot completely extinguish who the MIGRANT is in their CORE, BLOOD. Their culture and identity cannot be entirely absorbed by their new homeland. Tich's experience is not unique; it is one of numerous instances of the cyclical, generational lifestyle of migrants that ignited my passion for advocacy.
‘How accepting are we of those who make this land their home? How are we preserving their cultural identity, knowledge, gifts, and talents? Is the capitalist/generic/systematic way of the world, watering down, and lining up, unique humans in one generic queue?’
Educational gaps
BA, MA, PhD students in the arts and culture, are a luxury for migrant families. Who has time for this struggling sector? Picture this…
Spiwe was born and raised in the UK, the ideal subject of study according to her family is generic courses like law, nursing, and teaching. She’s most likely to get a job where she can then pay back the student loans as well as financially look after her parents. As much as Spiwes’ parents want her to study whatever she wants, the truth is, that they have financial responsibilities that have been passed down through generations. As a result, they cannot afford to let Spiwe choose flaky courses like Arts. Despite her parents’ preference, Spiwe chooses to go for the Arts. Consequently, she finds herself under a lot of pressure as all eyes are on her (eyes from her immediate as well as her extended family). Spiwe passed her BA and is considering going for the MA, however, that’s a financial threat to all her family including the extended families, who are now expecting financial support since she’s completed her degree. There is tension in her home, she needs to move out, there is tension in her mind, she is constantly on the verge of a mental breakdown…
Spiwe is from a first-generation migrant family, who has the right to work and has lived in the UK for many years. What is the best decision for Spiwe, who thrives because of her (Spiwes’) decision?
The above examples are drops in the sea of many stories, that are unraveling daily in migrant communities. Sadly, these are real-life stories that affect generations to come. We are talking about first generations, second, third, onwards…
As of of 2022 the number of migrants in the UK, is around 1.2 million
However, in the UK hostility towards migrants is not getting any better. Immigration rules are getting tighter and in turn stripping away their identity, gifts, and talents. Have you ever stopped to think about the value migrant communities bring to the UK? If we as a country took our time to draw out the gifts and talents they bring and create pathways for them. The UK as a country will benefit. As an organisation, this is what we are here to do. We create pathways into jobs and creative platforms for migrant communities.
As much as the UK is a multicultural country, the fact remains that migrant communities are grappling with multiple challenges including the normal day to day life’s challenges of life. To mention a few, they face visa issues, organisations normally hesitate to employ them, even when they have the right to work. Asylum seekers are not allowed to work and all their skills are collecting dust although there are plenty of skills gaps in the UK. UK victims of domestic abuse are treated differently, depending on their immigration status. Some are offered shelter, and some are turned away, despite their lives being in danger. Representation in decision-making positions is lacking, there is a crisis.
Thank you so much for reading this far, in a nutshell, 2 things are going on with Maokwo right now,
1) We are currently grappling/conflicted with the short-term @funding structures, and how it has negatively impacted us and those we serve.
2) Maokwo/Laura Nyahuye's research will be looking at all the above-mentioned points and more.
For more info, collaboration interests, and support, feel free to contact Maokwo at lauranyahuye@maokwo.com
Before you go, here are some testimonials from our Maokwo participants, artists, and collaborators
What impact has Maokwo had on your life?
‘Participating on the Young Leadership Programme at Maokwo has been a significant turning point in my personal and professional growth. Since 2021, Maokwo’s support has enabled me as an emerging curator to feel safe and supported at this very crucial and formative stage of my career. The organisation has provided me with a space where I could learn not only through research and mentoring but also through my own mistakes and reflexions. Maokwo as a support system welcomed those mistakes and uncertainties, which had a considerable impact on my confidence and prompted me to develop my creative practice at my own pace.
For me this was the ideal environment to grow and thrive, as it lifted the pressure to deliver a specific result and instead shifted the focus on my growth as an individual and an artist. Maokwo’s methodology also made it easier for me to identify my needs and express them with the confidence that they will be understood and addressed. Because Maokwo is rooted in lived experience, it felt safe for me to be insecure, to lack confidence and to navigate the imposter syndrome that engaging with the arts and arts organisations was giving me. Subsequently, the conditions above where ideal for me to emerge as a curator, more confident and informed. It also gave me a lot of clarity in my aspirations for the future in terms of my career path and curatorial practice. My training at Maokwo increased my chances to access new networks, opportunities and higher education in the arts and later led me to being awarded a full scholarship to study arts management at Goldsmiths University of London.
The impact of my involvement with Maokwo on my career remains ongoing.
Writing the Journey participant
‘Maokwo provided an opportunity for me to recognize I am a writer and the possibility of developing it as my career. Growing up in Hong Kong was difficult because our education system was rigid. It did not facilitate me in developing my creative writing skills but imposed a lot of stress on my writing. Writing has been a therapeutic process for as long as I can remember. Still, I would always underperform during exams because of the pressure. And so, I did not think of myself as a writer or even good at writing.
One of my best friends in high school started writing his story, and everyone loved it. I tried to write mine as well, but I was comparing my work to his, and I thought there was space for me to do better. And so, I never got the courage to share my work. Everything I have written since primary school has been a secret. And Maokwo's project provided me the space to create and the opportunity to share. I am surprised that my writing got a lot of positive responses. It gave me the confidence and recognition in sharing and inspiring others with my work.
Writing the Journey participant
‘Confidence to believe in myself and my work. I've been able to progress in my creative writing practice, performing and in the way I approach my work overall. Maokwo has offered me the support with resources that has enabled me to access spaces that I wouldn't have accessed on my own. We all need validation from others to gain the confidence with our ideas and thoughts, maokwo has always been my second pair of eyes by offering feedback, editing where it needs editing. Recently when I published my book, Maokwo hosted the launch that had around 100 people attending. This was huge event and required thorough planning and resources put into it-Maokwo made sure that everything that was needed was provided for and the event was a success.
Writing our journeys, the safe space for women from all backgrounds challenges us all that after all we are all humans facing so much barriers and discrimination but if we come together, no matter the colour of our skin, we are stronger as a collective.
As a community of people, Maokwo has supported us by facilitating spaces where as asylum seekers refugees and people failed by the asylum system were able to express ourselves in various ways, produce pieces that will always be there for not only the memories of where we have been and what we been made to go through, but also provide an opportunity for the world to learn, and transform the world we all live in to be a better place for all humanity. Maokwo remains the beacon of light and hope for supporting communities of harm that the UK asylum and immigration system creates.
How have you benefited from working with Maokwo and what have you learnt? / What impact has Maokwo had on you as an organisation?
‘Maokwo were among the first cultural organisations I have encountered in the city that gave a voice to the unheard and marginalised, both within the artist community itself and to the broader community via the themes examined through art. Moreover, this is a priority for the organisation, an underlying mission which promotes incremental change rather than the short-termism of specific projects. While limited in resource and capacity, Maokwo has demonstrated the impact of dedicated support for artists and commitment to its purpose, with several local artists having grown their talent, reputation and practice through the early career mentoring and support offered by Maokwo.
Coventry City Council has worked with Maokwo on several occasions and in a variety of contexts. As a programme partner or commissioned supplier Maokwo has always proven to be dependable, and can be relied upon for both the high quality of its artistic output, and for the experience of those audiences it engages with its thoughtful and thought-provoking work.’