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In the Clouds

@bighearts

Khadija Saye: artist on cusp of recognition when she died in Grenfell in Wednesday’s fire, was being exhibited at Venice Biennale and had caught eye of influential director

The day before she died, Khadija Saye had met an influential gallery director who was blown away by the young artist’s work and wanted to meet her. After years of striving to create her work while studying and holding down a job as a care worker, it felt like her moment to shine had come.

Her work was being exhibited as part of a showcase of emerging artists at the Venice Biennale, and now an important gallery was offering to show her art. The director had wanted to meet at her studio, not knowing she worked out of the 20th-floor flat she shared with her mother.

But by Wednesday morning, instead of her name being discussed as one of the most exciting young artists to emerge out of London, it was stories of her desperate Facebook messages sent from the top of that tower that were being shared.

Today in gentrification: Melbourne hipsters pay tribute to a dead black artist by opening a Biggie Smalls themed fried chicken restaurant, ‘Notorious F.A.T’, complete with photoshopped mural of Biggie holding a fried chicken drumstick, Aunt Jemima wallpaper, and pictures of white families with guns. You cannot make this stuff up.

uncovering many unknowns about my family with this sun nin, finding that I'm not alone in this disconnect. migration to this island continent, my enthusiasm for whiteness, refusal to learn my mother's tongue - I'm starting to feel less of a stranger to my own family. g(r)asping at twinkles of connection on my maternal side: my gung gung's mysterious political work, my kau mou's incredible musicianship, the mirroring of frustrations between my ma and poh poh, as to me and mama.. all the while learning how to address each person by their relation-specific title. grateful & feeling alone in wanting to mark the significance of this momentum towards understanding...

feels good to fall in love with an album again and keep stumbling across gems of Fatima’s incredible work

so much said, so chill, uplifting and real, something so close about her voice and the production

been on repeat - so far 3 times today & figuring out how to buy it in sydney

Evdokiya, age 100, born in Smolensky area. Profession: Worker. "I dream of walking by myself, being independent and alive." Photo by Keen Heick-Abildhauge

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Sometimes I’m resentful not because people are disrespecting my culture, but because I’m bitter about what I don’t know. This face and this name give rise to assumptions about access to culture I haven’t always had. At other times, I stubbornly refused to learn: speaking Chinese is only cool or impressive when you’re not Chinese. As a child I was dismissive – why bother when I already have the name and the face? For years I was embarrassed to speak Chinese in public. It might be urbane for Kevin Rudd, but people might think I couldn’t speak English. Like many non-Indigenous people of colour, I used language to legitimise my presence in this country. I offered my Australian accent like an excuse for my face. The accent is crucial; more important than any other measure of linguistic competence, it offers immediate protection. But this is only for the bearer, the soon-to-be-disillusioned offspring of adult migrants whose voices were stuck in another country. My generation was promised equality after assimilation; mostly, we sold our parents out. Now I work in a call centre. No name, no face. Customers hear my accent and confide their relief that they haven’t got someone in India, the Philippines. I tell them, shaking, that I can end the call if they feel the need to be racist. I want to say, ‘This is China speaking, she just sounds like you now.’ • My generation was promised equality after assimilation. And for a while there I believed it: I read Blyton and Blume, and later Plath and Salinger. And I loved them as I should. I forgot Chinese word by word and let my tongue grow wooden. And I hardly noticed because I always had more to say to my friends than to my parents. I waited for strangers to stop asking where I came from, and they kept me waiting. I went to the place I didn’t remember that I’m supposed to have come from, I looked at my grandparents’ bookshelves and the gaps in their photo albums and I thought about culture, loss, change and time. When I was four an ocean crossed me. If it hadn’t, I still wouldn’t be in the same place I came from. It took me until adulthood to realise that nothing would ever erase my Chineseness. It’s not in my name, my face, what I know, my family’s stories or even my blood. It’s all of my body and out there, in the world. A place in the world that follows me wherever I go.

Juliana Qian, The Name and The Face from Overland Literary Journal It’s been a long time since I’ve read something that resonates this much. (via bighearts)

Two years later, when the whitest boys are learning Mandarin around me, flinging cultural history at my face as if to impress, this still reverberates.

When I feel like I don't know what I am doing with my life or in general, or that it all seems to be like too much--the world is too much, the problems are too much, and I am too insignificant and small--I go to my favorite passages in books. This one, by Ladelle McWhorter, is a keeper.
Personal power is not always about overcoming something or being the picture of strength and resilience. It can also be about the stillness of being right where we are emotionally, and allowing that space to clue us in to whatever is happening in our world and whatever we need to feel in that moment.