Why Black People Do Not ‘Escape To The British Countryside’ & How Art Can Help Change That


“Estrangement from our natural environment is the cultural contest wherein violence against the earth is accepted and normalized. If we do not see earth as a guide to divine spirit, then we cannot see that the human spirit is violated, diminshed when humans violate and destroy the natural environment.”

― Bell Hooks, Belonging: A Culture of Place

No, I dont get warm fuzzy feelings when I try to walk into a traditional English country pub or down a country road or even through the woods in the countryside, its quite the opposite. I’m too intersectional to feel comfy, I navigate the world as a Black woman and a big one at that. The looks, the ignorance, the fear, even the microaggressive over-politeness but have you ever thought to yourself ‘Why is this? and why are there almost no Black people living or visiting the British Countryside? pause that thought for a moment. The team behind @HockleyHustle and @YoungHustlers brought their brand new, free *Green Hustle Festival* to Sneinton Market Avenues and the surrounding area. The Green Hustle Festival aims to bring diversity, positivity and accessibility to environmental issues; making it fun and engaging for everybody’. It consisted of Activities/Workshops/Presentations/Talks/ Stalls/Independent sellers and performance centring the environment. It was fantastic to be asked to create a creative interactive experience and have my own stall at the fest.

Event: Black Flowers Blossom Artmaking Workshop
ig: @greenhustlefest
Location: #sneintonmarket, Nottingham, UK
Date/Time: Saturday, 5/6/21 10am-4pm 🌞

#blackflowersblossom artmaking workshop was born, named after a line from the song ‘Teardrops‘ by British Trip Hop band Massive Attack, the song conveys ‘the fragility and the power of such an ethereal concept as love’.

Rural & Structural Racism in Britain:

To explain the relevance of the workshop I’ll have to go back to explain why Black people are not in the British countryside and do not perceive it as being somewhere to escape to. After WW2, when many African Caribbean people (that term never sits right with me but I get what its trying to say ‘Black Caribbean’ basically) were invited by the British government to come to Britain to help repair it. Due to racist anti-black policies, such as cancelling everyone’s education down to aged 11. The British government did this despite…

  • The British owning the British speaking Caribbean countries
  • The British controlling their education systems
  • Brainwashing Caribbeans to have an unquestionable reverence for the Queen, the Motherland (England), British Colonial Christian values and British History
  • Black Caribbeans were classified as British citizens by law

This law instantly disenfranchised the new Black Caribbean arrivals, instantly making them a poverty-stricken population. Due to racism and not having recognised qualifications, most Black people in Britain couldn’t fulfil their career aspirations. Black people were forced to live in the ‘ghettos’ of Britain, due to governmental white fears surrounding racism, miscegenation and Black male sexuality. The British government neatly used their erasure of Black Caribbean qualifications and Caribbean class structures to segregate the white elite from the rest of the population by using classism, racism and urban planning. No need for any in your face American style or South African style segregation tactics.

Even pre-European colonisation, Black people were often depicted negatively. The concept of being ‘urban’, poverty-stricken, criminal and being an underclass became a racist stereotype and associated with blackness in Britain. Further compounded by the constant depiction of the criminalisation of Black people in the media ever since the Ronald Reagan/ Margaret Thatcher era and the planned influx of drugs and guns into American inner cities during the late 70s and early 80s, thus criminalisation of blackness.

The Green Hustle Festival: Black Flowers Blossom Art-making Workshop

The workshop I created acts towards reconnecting Black people with nature🌴🌳🥑🌊🌻🍃, making it ‘ok’ for Black people to appreciate British countryside too (instead of being greeted with racial hostility, microaggressive behaviour (such as impromptu hair and skin touching or people singing the South African National anthem at you and your 2 Black girlfriends whilst you’re walking around Corby (that actually happened).

“For the first time this year, a lot of people realised the countryside and nature are really important for our health and mental wellbeing,” said Black history writer ​​​Louisa Adj​oa Parker, 48, who lives in rural southwest England.

“I think that has also raised questions around who has access to the countryside, who belongs there, who’s accepted there,” said Parker, who is also a British-Ghanaian diversity consultant.

– As COVID-hit Brits escape to the country, minorities face rural racism by @linnytayls | Thomson Reuters Foundation

The workshop acts to intellectually disassociate the ridiculously antiquated early 2000’s term ‘urban’ from blackness, via collage, collaboration and mixed media. All of the participants were asked to use this as a theme for their work ‘nature and black people’, humanising the representation of Blackness at ‘grass level’. The workshop sparked conversations about being Black or Mixed Race in the countryside or being a white person in the countryside being exposed to anti-black racist rhetoric as normalcy.

Collage is one of those art forms that people often feel able to set themselves free of any overcritical voice and just literally get stuck in, cutting, glueing, you’re actively encouraged to make a beautiful mess whilst discussing the topic at hand. Needless to say they got in the zone, our group was diverse in age, race, gender, physical ability. We discussed the topic at hand on many different levels of which resulted in the creation of some stunning pieces as you can see🔥

I want to thank everyone who came to the event and all who made this event possible.

How To Capture the Rise & Rise of Akala With A Pencil When Asked by The BBC


‘I often look at the world and just think fuck it, why bother, but I know that’s how we are supposed to feel, that’s why the corruption is so naked and freely visible – to wear down people who have the conviction that things could be better’

– Natives, Race & Class in the Ruins of Empire by Kingslee ‘Akala’ Daley

It was at some point in May, contemplating the prospect of living life without lockdown and where my next creative project was coming from..

Link to purchase book: https://pigeonbooks.co.uk/products/natives-akala

BBC Radio 4 – approached me (I dunno how???? I think I was headhunted on instagram but dont quote me on that!) in order to commission me to illustrate portraiture and design for a new audiobook/ podcast series (an abridged production of Akala’s “Natives – Natives: Race and Class in the Ruins of Empire bestselling book). I’ve always thought that Akala seems like a cool guy and we share a couple friends so I agreed to do it.

Who is Akala?

‘Akala aka Kingslee James McLean Daley (born 1 December 1983),[1] better known by his stage name Akala, is a British rapper, journalist, author, activist and poet from Kentish TownLondon. In 2006, he was voted the Best Hip Hop Act at the MOBO Awards[2] and has been included on the annual Powerlist of the 100 most influential Black British people in the UK, most recently making the 2021 edition’ …well thats what wikipedia said. I will let him introduce himself… check out this youtube clip: HUNGER x Akala.

The illustration/ design had to be reminiscent of the book art design but not the same. Akala’s book, is a personal memoir slash historical political essay covering themes such as heritage, mixed race identity, anti-black racism, education and the concept of nationhood, combined with a real sense of Akala’s humble yet culturally wealthy, gritty upbringing, its a good read. I had a very short time in which to produce something that I could be truly happy with, so I had to be decisive in direction I chose to take.

I started with a photo of him and developed it, I created a pencil and ink drawing then transformed it withinto digital wizardry. I was not happy at first but persevered until I was finally satisfied. Then I let the BBC team see it, possibly Akala saw it and okayed it, I have no idea.

I blared out his music (notably the second part of ‘Fire In The Booth – Part 4‘ from 12:56mins onwards is particularly stunning) on youtube, his lectures on Black Masculinity and couple other beats in order to get myself in an Akala mode….lol lets go with that for now. I tried my best to encompass all of those elements and the essence of him within the way I created the mood of podcast art. I used stratches and imperfection to convey the street element of his persona and I had to give him a wisdom filled intense gaze with that cheeky ‘di gyal dem sugar’ look in his eyes to make him become real in a covert and impactful way.

Illustration and Design by Honey Williams @thehoneyeffect

The BBC loved it, hopefully he likes it? but then again who cares… I like it and thats the be all and end all with any commission that comes my way. Akala’s podcast ‘Natives, Class & Race: In The Ruins of Empire‘ was launched in Monday 31/5/21, you can see my illustration there.

What To Do When ‘The Mother Country’ Wants To Send You Back On The Windrush: Navigating The Hostile Environment of Brexit Britain


‘In this country in 15 or 20 years’ time the black man will have the whip hand over the white man.” ― Enoch Powell, River’s of Blood’ Speech, Birmingham 1968

I don’t normally like explaining my art process, as it can differ according to my mood and the topic of my work. I prefer to leave it open to interpretation but I’ll attempt to just this once. I was asked by Nottingham based magazine Leftlion to create a front cover and middle page poster for their June 2018 Issue. For a while I was wondering what imagery should I create for this cover? I needed to embark on a journey in search of fresh inspiration.

Leftlion Editor, Bridie Squires, sent over a list of some of the featured articles, notably black British poetry legend and activist Benjamin Zephaniah, an article on Female Genital Mutilation featuring Valentine Nkoyo, a feature on artist Jasmin Issaka, Human Rights Lawyer Usha Sood, activist and Jamaican WW2 veteran Oswald George Powe and a play by a local Nottingham playwright Mufaro Makubika called ‘Shebeen‘ about the 1958 race-riots in Nottingham. All of which made for a very culturally important edition of Leftlion. Now, I see myself as being relatively deep, I knew that I wanted to say something colossal and powerful with my art… but what?

Then the news of the Windrush Scandal hit, basically the UK government have been steadily kicking out Caribbean’s who immigrated to the UK in 1948-1971 (of whom were deemed them British Citizens according to the Nationality act of 1948). For more info on the Windrush see link What is the Windrush scandal? How the Windrush generation got their name and why many fear deportation by Ann Stenhouse

My blood boiled after seeing Prime Minister Theresa May and Former MP Amber Rudd’s faces in Parliament drowning over facts, figures, tepid apologies, and pathetic last minute attempts to save political careers. David Lammy MP delivered a brilliantly emotive, soulful, parliament shaking speech and after hearing a tsunami of stories of deportation being reported in the national press and not only in black newspapers such as The Voice, Gleaner or as merely word of mouth amongst PoC communities. I decided that I was going to channel the nauseous concoction of pride and disgust I was feeling into creating a collection of pieces of illustration inspired by the Windrush Scandal.


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The Windrush Generation, Navigating Britain, How to Convey Them Visually

Excited fearfulness, queasy vulnerability, disappointedly chilly, a seasick loneliness, a war torn run down realisation, relieved to be safely on dry land, eyes searching for familiar faces. I have gathered info from the Windrush generation, those that I know personally and have researched in interviews. Above are a few of the emotions that would have been running through the youthful minds of people first stepping foot off the ship Empire Windrush in England, ‘fresh off the boat’.

I decided to base my illustration on a freeze frame taken from footage shot by the BBC of the literal moment that a young black Jamaican man had first laid eyes on England (see slideshow above). He’s a young dark skinned black man, smartly dressed in a trilby, pinstripe suit and bowtie. Though in slight wonderment you can see that he is hopeful.

My parents are a part of the Windrush generation, they came from middle class backgrounds in Jamaica, my dad arrived in 1958, as a detective in Jamaica he was only able to be a Traffic Warden and Bus Driver in the uk. Likewise my mother arrived in 1962 as a teacher and had to start off working in a factory, but why?

Which brings me to what has to be one of the single most cruel plot twists for Caribbean British citizen’s in post WW2 British legislation. My parents had always drilled into me that ‘Education is key’ and that I have to work at least twice as hard as my white counterparts. I later learned why they were so adamant. The British government ran Jamaica’s education system but even so; Britain disallowed by law all the qualifications of Caribbean British citizens (down to age 11). The effect was that it acted to ghettoize; you cannot have access to higher paid jobs, which would afford you better places to live. Even though on average middle-class and many working class Caribbean’s knew a lot more about stuff like… ‘the Queen, Buckingham palace, William the Conqueror, Shakespeare, Sheffield Steel, Clive of India, The Brontës, David Livingstone and how he ‘civilised the savage’ in Africa, industrial revolution’ etc more than your average white working class Brit. To convey this element in my art, I created conflict within each image in terms of their mood. The imagery I created is deliberately jam-packed with contradictory information that my parents and other Caribbean’s had to navigate and survive under.


“White privilege is an absence of the consequences of racism. An absence of structural discrimination, an absence of your race being viewed as a problem first and foremost.” 
― Reni Eddo-LodgeWhy I’m No Longer Talking to White People About Race


Channelling The Caribbean Perception of Post War Working Class White Britain & My Feelings on The Windrush Scandal


‘We were taught that the streets were paved with gold and that most white people were rich ’. Caribbean’s were generally taught whitewashed version of history, religion and a blind allegiance to British nationalism. All of this was a effective tool to insure that many Caribbean’s would

  • well behaved
  • subscribe to conservatism, meritocracy, respectability politics
  • aspire to be like white people

Be non-critical thinking servants at Britain’s beck and call, that would be compelled to come running just like the ‘good old days of Empire and slavery’. Then could be disposed off as the Britain Government and white ruling class saw fit. Though many did not adhere to all of the above and fought against the indoctrination by re-educating, decolonising and rebelling in a myriad of ways. I conveyed the clashing views of the Black British Caribbean self under the narcissistic paternal rule of Britain by using dissonant imagery, such as religious iconography, 19th century etchings of the torture of slaves calling for abolition, photography of Caribbean’s toiling in plantations, Caribbean war veterans both men and women, BlackLivesMatter protests of Nottingham, Nottingham Riots of 1958, interracial couples, the permanent influence of Jamaican culture on popular British culture and the English language, Caribbean nurses, Brexit scaremongering and racist signs.

I incorporated the beauty of paradise, sunsets, palm trees, houses with red tin roofs into my art. I wanted it to represent rose tinted memories of belonging, innocence, the memory of being a part of an ethnic majority and the confidence in ones stride that brings. A saturated use of colour was used to convey paradise and to appear diametrically opposite to the overcast aesthetics of Britain. I tried to convey that Caribbean people comment that they were shocked to find that in reality they found Britain to be smoky grey, old, dirty, dank, shoddy, ignorant, unhygienic, depressing and hostile.
Caribbean’s and notably Jamaicans were instantly deemed as troublemakers, criminal, smelly, ugly, noisy and inferior in every way. ‘No, Blacks’ was a regular sign that would be seen in most accommodation available for rent and in places of employment. Most white churches would ask Caribbean’s not to return in a most polite and very British fashion. Many Caribbean people would have to defend themselves from attackers, which helped fuel riots and protests for basic human rights in Britain. I chose to represent these elements by incorporating real newspaper headlines and riot photography slashed into the imagery.


Black British Caribbean women have arguably been the anchor of the Black British families and community, a much needed ‘big up’, acknowledgement and appreciation of the beauty and strength of those women. Hence my depiction of the black caribbean woman as queen, plus I wanted to convey the 2 figures as ‘the Adam & Eve’ of the biggest influx of Black people in Britain since its creation.


Scandal is the word for this malicious act of the British government effectively wanting to get rid of the Windrush Generation now they 50+ and their children and in some cases grandchildren, after all of our great sacrifice, great contributions to Britain I wanted this art to be a visual smack in the face, machete chops and cuss words in visual patois, a beautiful explosion of consciousness.

‘If you are the a big tree, we are the small axe, sharpened to cut you down, ready to cut you down’ – Bob Marley & The Wailers


As big black women of Jamaican descent taking up room in the uk in any sense can be treacherous, often greeted with backlash; be it via my art on the cover of a magazine, singing self penned songs, navigating unemployment, voicing my opinion or merely walking down the street. I have personally have never felt a part of Britain and the recent scandal comes as no surprise to me, is it any wonder why? Most black Caribbean’s seldom talk about the moment they encountered England for the first time. I hope my art can act as a mouthpiece for their feelings, mine and for those no longer with us

The beautiful struggle continues…

If you are interested in buying any of my work please click on this link https://www.etsy.com/uk/shop/THEHONEYEFFECT . Feel free to leave a comment and let me know what you think and thank you for reading my blog.

Windrush Poster (LEFTLION) FINAL (540mm x 370mm)

Middle page poster of the June 2018 Issue of Leftlion Magazine

Windrush god save the queen Poster (LEFTLION) FINAL (540mm x 370mm)

Middle page poster of the June 2018 Issue of Leftlion Magazine


Front cover of the June 2018 Issue of Leftlion Magazine


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‘The Art of Afrotherapy’: Decolonising Beauty via Black Girl Magic at University


“You can’t help it. An artist’s duty, as far as I’m concerned, is to reflect the times.”― Nina Simone

The Psychology department of Nottingham Trent University in Nottingham U.K. were looking for a creative that they could collaborate with on the topic of black women and their black hair to produce an event. One of the reasons that I was recommended to them because of this…

Contemporary Natural Hair by the Pickyheads:

Contemporary Natural Hair by the Pickyheads is a facebook group/blog that I initially created in order to counteract the sheer lack of contemporary representation of  black beauty. Another reason why I created the group is that I wanted to re-brainwash myself into loving myself aesthetically eg. my natural afro hair texture and skin tone. Very quickly as I started to unearth more information about history, race theory, black feminism, visual sociology and ethnography and injected this into the group. I started to garner attention from people of African descent throughout the world. Im not saying Im famous by any stretch of the imagination but a friend of mine that lived in Belgium was told about my group by a Black Dutch woman who was gushing about it and my friend soon realised

‘but thats my friend Honey!!!?!!!’

I realised that the group could be used as a tool to

‘Dismantle racism, white supremacy, colourism and misogynoir, using all forms of artistic expression within contemporary culture. All with the emphasis of bigging up skin tones, hair textures, hairstyles of african heritage in order to decolonise beauty’

The Event: The Exhibition

I was asked by psychology department of Trent University and Esther Akanya Educational Developer (Success For All- Social Sciences) Centre for Academic Development & Quality at Nottingham Trent University to come up with an idea for an event that would link psychology to black hair. So I came up with the idea of creating an exhibition and a workshop called ‘The Art of Afrotherapy’: Decolonising beauty through art afro textured discussion.


Creating artwork with 0 funds is tricky especially when you’re covering a topic that is arguably a part of the reason why you have 0 funds #irony – but that is another blog post. I have used my years of experiencing the slow poison of the intersectionality between anti-black misogyny, fatphobia and hair texture discrimination and how that effects every facet of life eg. employment, relationships, social media.  I also wanted to enthuse a sense of self care practised through creating art, music and also through facebook blogging, providing a space for a small part of a huge community of beautiful black women and images and links that centre our us, a reconnection with nature and black culture into my art.

I wanted a part of the exhibition to be immersive and so I invited the university to write their thoughts about black women, black women’s hair, the exhibition, and here are some of my favourite comments and images from the exhibition:

  • ‘Our rich and saturated melanin! it indeed pops severely and they be MADD!’
  • ‘Colourism is colonisation’
  • ‘Dont Touch My Hair’
  • ‘Black = beauty’
  • ‘People who complain about my hair in their face while dancing, Bitch you just been blessed :-)’

I started with creating my art and in a short space of time I had created a collection of pieces that were about decolonising beauty plus the colonising minds and express. Started with creating some new pieces of art on a shoestring and collecting older pieces that tied in with the theme of the exhibition.

I wanted my work to feature womanity of african descent, the different skin tones and natural hair textures, I wanted to communicate a sense of vulnerability, endurance and the beauty within that.

Screen Shot 2017-11-03 at 21.52.50

The Event: The Workshop

In the U.K. and throughout the western world we are forced to conform to ideals of beauty and femininity that are racist white supremacist, patriarchal and anti-black.So in turn the afro textured natural hair that naturally grows from black people’s heads is often deemed unkempt, dirty, un-marriable, undateable, unemployable, rebellious, masculine and ugly. As opposed to men, it is still largely socially unacceptable for women not to have hair I’ve often wondered what effect this is having on women of African descent as it is seldom measured, analysed, unpacked and discussed not even nearly enough in the UK, especially outside London. Coupled with the fact that many black women are often culturally socialised to be self sacrificial and are often expected to hold families, churches and communities together often resulting in a degree self neglect but this level of self sacrifice it is not reciprocated. I have often wondered what effect does this have on the psyche and wellbeing of women of african descent in the uk?

presentation Screen Shot 2017-11-03 at 21.51.52

There is a sizable population of women of African Caribbean descent that were born in Nottingham (largely of Jamaican descent and West African descent). Nottingham’s boasts 2 prestigious University’s both Nottingham University and of course Nottingham Trent University, both attract students from all over the globe. I wanted to to provide a space  within Nottingham Trent University that would act as a place for black women and others to vent their views on the topic of black hair, beauty and how it feels to be a black woman in the uk as there is catharsis in airing this topic usually hidden in plain sight.

I created a presentation that aided the discussion, culminating in sharing examples of black girl magic enthused artistic expressions of self care such as recording artists: Solange’s song ‘Don’t Touch My Hair’, Jamila Wood’s ‘Holy’, Soul II Souls’s ‘Back to Life’ and powerful imagery of intoxicatingly beautiful natural haired fashionistas from the Afropunk Festival based in Brooklyn NY but now worldwide. Resulting in a brilliantly  nourishing, amusing, intimate and enlightening conversation. The changes that I would make to the workshop are that Id make it much more art based as I feel that there is a toxic amount of subliminal emotion tightly compacted and stored away within the intersectionality between British politeness, patriarchy and misogynoir… still to be unpacked.

Staying Woke & Unpacking Misogynoir: Interrupting The Blissful Sleep of Young Black British & Mixed Race Men


‘Sleep: A condition of body and mind which typically recurs for several hours every night, in which the nervous system is inactive, the eyes closed, the postural muscles relaxed, and consciousness practically suspended.’ -Definition of ‘sleep’ by the Oxford Dictionary

‘To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.’

-James A. Baldwin
GROUP1 - black boy2

The word was out that someone was on the look out for a “a strong black woman” to be invited to act as a role model and explore topics such as positive relationships with women, managing stereotypes and lead a discussion for an initiative called black on track UK. Despite the tired trope of ‘Strong Black Woman’ it sounded exciting and agreed to do it.

Black on Track UK:

Black on Track UK is a unique cultural group for young Black males at the then South Nottingham College now Central College Nottingham, supported by the School of Education at Nottingham Trent University in 2012.

Dr Sheine Peart pic1
Dr Sheine Peart

The launch of the group followed a 15 month research project by Nottingham Trent University’s Sheine Peart, course leader for the Masters in Education at the School of Education, which was carried out at South Nottingham College and the former Broxtowe College.

Along with Dr Sheine Peart, South Nottingham College learner achievement coach, Claudius Dyer and Lecturer Norris Stewart have also been instrumental in establishing the group, with support from its deputy principal, John Gray.

[Read More About Black On Track Here]

Enlightenment, Where to Start?

‘There can be no freedom for black men as long as they advocate the subjugation of black women.’-bell hooks

The topic of the discussion was ‘Black Mens Attitudes Towards Black Women’ as at the South Nottingham College had noticed that Black male students increasingly wanted nothing to do with black women. Though excited by the prospect of possibly being involved in enlightening some young black men with regard to black women and the issues we face. Needless to say I was daunted at the prospect, what would I discuss  with them? Where do I start? Because misogynoir against black women in the UK is particularly tarte and it hasn’t gone unnoticed to me or any other black women I know.

It would be a task for me to eradicate all known misogynoir from the UK but perhaps I could attempt to remove the sleep from a few young black men’s eyes and minds and enlighten them to the fact that black women are not as derogatory a concept as some of young black british males have been hypnotised by western society to believe…. infact #blackgirlmagic is real.

Waking Up To Decolonising Beauty Ideals

The group of young men were made up of 6 black men and 1 mixed race man, all of the students were aged between 16 and 18. They all looked slightly nervous as we introduced ourselves to each other. One of the first things we did to ease us into the topic watch a YouTube vid, A Girl like Me  is a 2005 Award winning short documentary by a then 16-year-old filmmaker Kiri Davis. The 7 min documentary examines such things as the importance of colour, hair and facial features for young African American women.

Most of the students said that they felt bad and angry for the girls in the documentary. The reenactment of the Doll Test from the Brown vs. Board of Education case in Civil Rights era America stood out for them and we also discussed how racism effects black girls and black women in uniquely different ways to black males.

and I googled the words ‘beautiful woman’ and they were shocked at the results…Screen Shot 2017-03-30 at 01.52.58

it goes on like this for pages…

Now we scrolled for about 16pages and then we started to see pics of Beyonce and couple images of Oriental women speckled through the results. All the young men looked like they had just a dose of smelling salts in response to the results. We all agreed that it was telling that we had to scroll past hundreds of images of caucasian women who were not famous and the first WoC, black woman to be deemed beautiful enough to show up in the results had to be as famous, successful as a european appearing as Beyonce…in order to be deemed beautiful as a black woman? They began to empathise with black women and see how manipulative the media can be.

Then we discussed what their ideas of beauty were….

I asked them who their top 3 most attractive famous women were…
Names such as Emma Stone, Cheryl Cole, Jennifer Lopez, Megan Fox, Angelina Jolie, Scarlett Johanssen, Alicia Keys, Emma Watson, Kate Winslet and Kelly Rowland came up… no real surprises. Only one of them singer Kelly Rowland was a black woman all of the rest of the women are white or racially ambigious /mixed race. I pointed out that isn’t it interesting that the people that they found attractive reflected the results of the doll test in the documentary, they agreed.

Being Conscious of Racist Stereotypes Applied to Black Women

By the time we got to this point they were quite comfortable talking to me and each other. I asked them what do you think of White women, Black women, Mixed Race women?….it was my turn to be a little startled…

Black Women: Queens, Dominant, attitude, dont take any shit, facesty, some are too loud, wear weaves alot, they stick up for you, Mothers, they are providers, big lips, they dont like their hair, rude, argumentative, some are sexy, harder to chat up, big bums aka ‘back off’, get high marks.

White Women: Liars, bitches, not to be trusted, easy, agreeable, they do what you say, pretty, nice long hair, dumb, bimbos, easy to trick, they’ve got alot of freedom because their parents let them do whatever they want, flat bums, wild, up for doing new things.

Mixed Race Women: Stuck up, pretty, bit facesty, always got their hair slicked back, confused, curls, light skin, some lean more to their white side and some lean more to their black side, lost, think that they are too nice, more trouble than its worth.

I was startled because the one who said that black women were queens and that white women were ‘liars, bitches and not to be trusted’ was the young Mixed Race man, it made me want to know more about his story? what had happened in his young life that had made him come to such conclusions? We discussed where the stereotypes came from, we talked about the fact that if they all were the female versions of themselves that based on all the women that they said they were attracted to they probably wouldn’t find themselves attractive.

In summary I had learned that those students were open to hearing about black women’s lives. The students said that they enjoyed discussion and thought that it met their needs much better than school. It spoke to their experience more than just the academic side and there is no formal cultural or emotional support for them, an issue which is replicated in Further Education across the country. I’m glad that I could play a part in at least presenting a new perspective that they possibly hadn’t considered in depth before, perhaps ignorance isn’t so blissful afterall..

How To Turn Poets into Choirs and Words into Songs in Germany


Welcome to Braunschweig, East Germany Honey!

Braunschweig aka Brunswick is a pretty little city in Lower Saxony in East Germany, full of 17th century architecture and 1980s shopping malls, brutalist realness and the ever so colourfully quirky Rizzi House by architect Konrad Kloster in honour of Artist James Rizzi. Back in October 2015 in a time before brexit,  I had flown over to Braunschweig with the Mouthy Poets (Nottingham Based Poetry Collective) led by Deborah Stevenson who is a Poet/ Dancer/ Grime MC/ Teacher. The reason we were there in East Germany was to perform with the Loewenmaul Poets aka ‘Lion Mouth Poets’ at the beautiful Staatstheater Braunschweig as a Singer and a Poet and to partake in workshops whilst meeting other poets from across the pond.


Most people were very friendly and welcoming there but many of the local people did stare at the people of colour in our group, as if we were aliens or refugees which was both interesting, mildly amusing but did start to have a negative effect on us after a while. I stayed with a lovely lady called Helene who looked after me well and made me feel at home.


Staatstheater postcard

Postcard of Staatstheater Braunschweig, Germany


Vocal Workshop: Choral Skills

Inside the grand walls of the Staatstheater, I was asked to lead a Choral Vocal Workshop, this meant that I had to craft a lesson plan that could work for a mixed ability group.

I used some of the techniques I have used with my choir The Gang of Angels such as…

  • Locating your diaphragm,
  • Breathing techniques,
  • Warm ups
  • Harmonising and being split into Sopranos (High woman singers), Alto’s (Low woman singers) and Tenors (High male singers)
  • Choral songwriting skills


Screen Shot 2017-03-21 at 23.41.48

We ended up collaboratively writing quite an ominous, dissonant, yet amusing song called ‘WHAT ARE YOU DOING WITH YOUR LIFE’… which we sang on a round (some people still sing this to me lol).

I think that everyone did really well, they took direction and everyone participated even though some were convinced that singing was something that they shouldn’t do. There is something about filling rooms with harmony that restores something in me… I wasn’t sure if they got that same feeling but everyone appeared to enjoy it.


Instant Feedback:

Mouty Poets and Loewenmaul Poets later did a writing exercise in one of the many opulent rooms of the Braunschweig Staat and one of the tasks was to write an anonymous note to different people in the group. In the note we had to tell the person what we had learned and or gained from them. We then folded our little notes up, put the persons name on it and gave note to them.

I had always meant to blog about this because it touched me alot, people had lots of kind words to say about me. I had kept the little notes and recently rediscovered them. I dont talk about negative experiences much but and as a woman who encounters alot of fatphobia and misogynoir, it was novel to receive a barrage of positive feedback like this all in one go!?! which made me feel appreciated.


Some of my favourite notes were …
‘I learned from your quiet confidence’
‘Wisdom, light and positivity’
‘I’ve learned to sing’
‘Always be yourself, without shame’
‘I love your voice and I loved your workshops, it was one of my favourites’

All in all I enjoyed my time there.

What No one Tells You About The WOW Festival & The Legendary Activist Angela Davis



Illustration by @thehoneyeffect

So the Women of The World Festival 2017 was fast approaching, I had previously led a heady, informative, rather risqué discussion there a couple years ago on the topic of ‘Who Owns Your Body’ I digress… and felt that the time was right to go back. I had all but given up on finding a ticket to see the Legendary Activist Angela Davis speak at the WoW Festival 2017 as the tickets sold out faster than a Sprinter of Jamaican descent… late for work.

I tried to hunt a ticket down before I got my day pass for WOW but no luck. I decided to try one last time and put an open call out on Facebook for any spare tickets and luckily an random Facebook friend Chelsea Black came to my rescue and sold me a front row ticket no less! yaassss!

So I went down to London Saturday, 11 March 2017 on a Sn-ap coach (if you have to do last minute discounted public transport I highly recommend them Notingham to London 6 pounds! bargain). Along the way down to Southbank Centre, in Covent Garden I spotted some beautifully floral collaged protest art by an artist called Sophia Tassew called ‘Mandem Need Feminism’…. how apt.


‘Mandem’ by Sophia Tassew

Why I’m No Longer Talking To White People About Race, Hannah Pool in Conversation with Reni Eddo-Lodge

Then I arrived at the heaving box office at Southbank Centre, filled with lots of beautiful women from all over the world of which I should’ve taken a photo of… I guess I was worried about my tickets. Then I went to my first conversation/ discussion of the day, which was titled ‘Why I’m No Longer Talking To White People About Race’ by Reni Eddo-Lodge #titleoftheday who was promoting her book of the same title of which started out as a blog. She spoke about the frustrations, discomfort and social implications of talking about race. She raised topics such as whites fragility, Male fragility, intersectionality and white feminism.


[Photo Credit: Honey Williams]

Where as I thought this talk was interesting and Journalist/ Writer Hannah Pool asked cool questions, though I could hear metaphorical eggshells being crushed in the room. I think that this particular was designed for white people (of which probably reflects the point of the book). I say this in part because a small part of the conversation was spent reassuring a white woman who said she was a diversity leader that does everything she can to help PoC’s.

who while asking a question, proceeded to burst into tears whilst devolving into a puddle of the finest white guilt… centering herself of which felt like a misogynoiristic attack. Hannah Pool reassured the white woman and said that we appreciate your vulnerability, I disagreed under my breath…. I’ve witnessed so much fragility in life that I could drown in white tears #crymeariver #Imonfire.

Reni told the woman in a very tactful considered manner that her tears were misplaced and it would be better if she transformed her white guilt into action and helped towards dismantling white privilege and redistributing power (I’m paraphrasing but you get it).
Its super hard to have conversations about race in a room full of middle class white women in the uk and not upset one of them so much that you can almost see your career smashing to smithereens on the ground. It was positive that it happened and I cant wait to read the book.


[Photo Credit: Honey Williams]


Crown of Confidence by Rachael Young

Rachael Young performance artist extraordinaire led the next workshop, it was a fun, a much needed rest bite from serious discourse about white feminism, Black feminism and white supremacist patriarchy. Crown of Confidence is a DIY Hair Salon, an intimate social space for practically re-imagining yourself through the art of hairstyling. We spoke of our childhood, heros, gender norms and I sprayed my hair blue and others sprayed their hair pink and exchanged social media with a couple people too! funtimes


[Photo Credit: Honey Williams]

Open Toolkit For How Magic and Messed Up Life Can Be Lauren Laverne in Conversation with Gemma Cairney

TV and radio personality, journalist and teen ambassador Gemma Cairney talked about her new book, OPEN: A Toolkit for How Magic and Messed Up Life Can Be, exploring everything from mental health and families, to first love and technology with broadcaster Lauren Laverne. I found this surprisingly inspiring, I found Gemma’s young, quirky style, fun use of language and summery approach to DIY teen girl empowerment to be unique.


[Photo Credit: Honey Williams]


@tammyscribbler @kikibaby79 @thehoneyeffect [Photo Credit: Tamara Gausi]


Jude Kelly In Conversation with the legendary… Angela Davis

Legendary African-American activist Angela Davis talks to Southbank Centre’s Artistic Director Jude Kelly CBE about women, race and class in the post-Trump era. This was phenomenal, the grandiosity of the hall was packed with feminists and headwrapped and natural haired womanists of every shade of brown as far as the eye could see. I was talking to countless beautiful black women of all ages some had come down from as far away as Birmingham, Leeds and even North London despite a train delay a woman confessed lol. We talked about the day thus far and the conversation with Chimamanda Ngozi Adichie to be held after Angela Davis. We talked about how the tickets for this sold out Conversation with Davis were like gold dust and about other activists we’d like to see and would like to have seen such as bell hooks, Maya Angelou, Zora Neale Hurston. The atmosphere was set to ignite, anticipation was killing us all softly, you had to be there.

Queenly figure of Angela Davis crowned with golden afro curls arrived on stage to a much deserved rapturous standing ovation. After a couple minutes she gestured the crowd to be seated as if to playfully say stop being silly and the conversation commenced.
Davis dropped gem after gem and spoke of  Womanism, Islamophobia, the abolition of gender policing, White fragility, Audre Lorde,’Evolution Feminism’, ‘Never mind the glass ceiling that white feminism is trying to break through, what about the floor that keeps falling from beneath women of colour?’
‘I’m not a feminist I’m a Black woman’
Intersectionality and much more.
She asked men to stand up and clap for all the women in the crowd, my phone was on 1% and I decided to bask in the moment and let the applause wash over me (Reminded me of that classic hip hop tune by ‘Black Girl’ by Talib Kweli).
The talk had been insightful and powerful but it felt like the the air was pregnant with something as if something explosive was going to happen…


[Photo Credit: Honey Williams]



[Photo Credit: Honey Williams]


and then it happened…
She asked if anyone had any questions and I was about to raise my hand but noticed a black woman a seat away desperate to be heard almost standing, raising her hand as high as it would reach… I thought to myself I happened to be sitting a seat away from a Black British Activist Marcia Rigg, Marcia is the sister of Sean Rigg who died in Brixton police station in 2008. Marcia is a mental health activist and runs the Sean Rigg Justice And Change Campaign. Marcia gushed an outpouring of love and respect for Davis by referring to Davis as being her hero and asked a poignant and highly emotional question about black people secretly dying in police custody in the UK and mentioned her loss and activism, plus asked how to cope as a black woman activist. Davis gave her a heartfelt thanks for her question and answered it with grace and tact. Then soon after Marcia Riggs leapt up on stage and gave Angela a big hug! the crowd gave them both a standing ovation, needless to say the whole room got in their feels, not a dry eye in the room.
Needless to say Im thankful I got my last min ticket!
What an exquisitely inspiring day!

C6qa_Q7WsAADqqR bright

A Black Woman’s Guide to Believing That People Will Buy Your Work


I was asked by the amazing curator that is Saziso Phiri from the @theantigallery to be a part of their stall at the Crafts and Culture Festival in Nottingham, 10th December 2016, held at the New Art Exchange in Nottingham. I had little time to prep for it but I chose to throw myself in the deep end. I wanted to create a collection of affordable art that centered the beauty of black women, skin tones, style, self care, truths, thoughts and mantras…. basically an excuse to big us up once again. I also wanted the work that I created to soothe us as black women, because we are often so marginalised. Black womens capacity for empathy has always been vast even in an era where anti-black misogyny is normalised, Trump happened, Brexit actually happened, innocent black lives are being brutalised, wars are raging across the globe, Prince, Muhammed Ali and Bowie and so many more are dead… 2016 has been tough for us, so I thought that this would be a great topic to create work about but I did wonder would people buy it? Here’s the advise I would give to myself with hindsight.

  • Give yourself ample time to create work that you’re proud of!

Sounds obvious but it gives you time to make friends with the art you create, therefore you may believe in it more, giving you more chance to know what your work is about so that you can communicate that with others. Plus rushing can lead to drawing blanks when it comes to ideas… no one wants that!

  • Know that you are in competition with no one

Yes there’s lots of other artists making artwork in the world. There’s always going to be someone who has better technique, materials, skills etc etc but there can never be another person quite like you. Make you’re own lane and stay in it.

  • Forget that you want someone to buy what you create

Now this is hard because you know girls got bills bills bills to pay and being ‘bruk pocket’ is not a good look. You cannot produce your best work if your only goal is selling it. You have to put a piece of who are into your art or whatever you are creating. Forget what you think that people will like, YOU have to like it first. It’s cliched but it’s true.


  • Enjoy it!

I watched a documentary the other day and a young white woman of around 26years of age worked as a graphic Designer but suddenly developed Parkinson’s disease and that really struck me. Part of the premise of the show was that they brought in top engineers to help people with debilitating physicalities. They had stopped her hands from tremoring and she could once again for the first time draw a straight line and write her name!

Needless to say #tears, and it just the smack in the face I needed to remind me to be thankful for the gifts I’ve been given and to enjoy them whilst I have them and to use what I’ve got. So put on your music, pour a glass of something delicious and let the creative juices flood the place and enjoy!


Crafts and Culture Fest 2016

Now back to the crafts and culture fest December 2016. Me and a beautiful clever woman called Nelta that I had just met were on the Anti Gallery stand, we talked and laughed all day but were also ever poised to sell mine and other works. We manned the stall all day watching people buy all manner of lovely crafts from woollen booties, paper roses, embroidered Christmas cards to chocolate fudge…. I honestly didn’t believe that my art fitted the fest, nor did I believe that my art would attract any of the clientele that the fest was attracting. I had kinda given up hope, plus I was soooooo tired from basically depriving myself of sleep, whilst creating the work.

But low and behold …Almost at the end of the day, I actually sold some work! In the end the piece that I ended up selling was titled ‘Evolving’ from the Afromantras collection. It was the biggest piece and one of the pieces I had thought about keeping for myself because I rather liked it. A cute couple bought it and they also bought a spray can lamp by @dontlookdown40.

#Funtimes, Happy days!

So the way to believe that people will buy your work is to let go of caring whether they do or not and enjoy it. Done.

[*If you are interested in any of the pieces shown here contact Honey Williams at thehoneyeffect@yahoo.com]

How to Make Strong Street Art about ‘Strong Black Women’


‘The Street Art Festival at Surface Gallery celebrates and supports Nottingham’s thriving alternative art scene by showcasing some of today’s best local, national, and international street art.’  www.surfacegallery.org


Creating and submitting my art into this exhibition was my way of coming back to illustrating and making art for myself once again after a long hiatus. I had lost my nerve and had my style stolen and felt like my wings had been clipped for want of a less obvious cliche but I had so much to say and facebook rants and tumblr feeds were leaving me underwhelmed. I had to throw myself and energies back into making art for me and women like me. I knew I wanted to make art that spoke to my and other Black British womens experience in the UK. Misogynoir (anti-black misogyny), sexism, lookism, colourism, also issues surrounding fatphobia, sizeism and natural hair all feature heavily in my work. I developed my collaged illustrative style in my diary and people that sneaked a peak of it would comment when they saw how I document time and feelings and would say things like…

‘Its a shame you’re not famous because your diary should be exhibited as a work of art, nobodies gonna get to see it’

So I actually use pages of my diary and digitally infuse them into my work as a backdrop to the portraiture of black women and build layers from there.


THE LAUNCH PARTY: Friday 8th July 2016, 18.00 to 22:00

‘DJ sets, breakdancing, live painting, and some nicely spiced cooking from Uncle Wayne’s Jerk Station’

I travelled up from London to come to the show in Nottingham, it was full of people and music and conversation. I looked for my pieces in amongst the hundreds of pieces and found that they had been split up, in my eyes my pieces kind of lost their meaning and I felt that I couldn’t concentrate on any one piece due to the sheer volume of work exhibited. Scanning each level of the Surface Gallery I think that my pieces of art were the only artwork to feature non white people which was a bit disappointing, I think that they could use some more racial diversity in the artists chosen to be exhibited because Nottingham has lots of talented non-white Artists and WoC artists out there. Plus street art is one of the 5 elements of Hip Hop culture which is obviously black derived culture soooo?? I did think where are all the black people at?.

Saying all that Im glad that I used this exhibition as a catalyst to reignite my passion for illustration and making art for myself as well as others.





Bring The Drama!: My Graphic Design for Sabrina Mahfouz’s ‘Chef’


I’ve been working with amazingly talented Sabrina Mahfouz to produce promotional design work for her new show called ‘Chef’. Sabrina Mahfouz is a British Egyptian poet, playwright, performer and writer from South London, UK.


Sabrina Mahfouz, Poet, Performer and Playwrite


‘Chef tells the gripping story of how one woman went from being a haute cuisine Head Chef to a convicted inmate running a prison kitchen. Sabrina Mahfouz’s distinct award-winning lyrical style and Jade Anouka‘s mesmerising performance make this an extraordinary, must-see, new show’

Here is the finished product…

chef-a5-front-hi-res  chef-a5-back-hi-res

I’ve very much enjoyed cooking up this imagery that combines haute cuisine with art and copious amounts of drama as Im a bit of a boujy foodie person myself. I’ve just finished it and’Im really pleased with how this design turned out if I don’t mind saying so myself