Posted on Aug 7, 2020

This week we were be joined for our Thursday Thoughts session by Satmohan Panesar, ITV Commissioning Editor of Factual Entertainment and Bradley Cumberbatch, Creative Access alumni and Senior Producer and Director of Celebrity Gogglebox.

Sat began by introducing his role commissioning shows on channels including ITVBe and ITV4, which he has done for the past five years. , Sat grew up in a very traditional Indian household where he was expected to go into medicine, and he “never actually thought about working in television.” He did a science degree and then worked in a shop in London for a while before deciding to do work experience in TV which he loved. Though he looks back on his journey now through rose-tinted glasses, there were “lots of bumps” along the way. He “wasn’t part of any elite grad trainee scheme” and was quite out of his depth. Though, Sat said “what I did know is I really like doing what I was doing and I had really good work ethic.”

Bradley then gave an insight into his upbringing and career journey, which began pre-uni when he was involved in the theatre as a teenager. Also coming from a traditional family, Bradley studied Business Management at university, before later securing a role in BBC comedy as a runner through Creative Access.

When asked about how much work experience they did before, Bradley said that with his first role being through Creative Access, he “didn’t go the traditional route” and “carved his own experiences within the BBC.” Sat, who did do the traditional work experience, just carried on going in after finishing. In his words, “you’ve really got to make yourself noticed.” When speaking of BAME people in particular in the industry, Sat said that often they “don’t want to rock the boat” which is in fact “doing us a disservice… you’ve got to get stuck in and get yourself noticed, give your ideas and opinions, try and get involved.”

Sat was the only Indian on this team when he started out, and found himself “constantly walking around with iImposter syndrome.” Though, diversity is needed everywhere, particularly in industries like television. In Sat’s words, “in creative industries we’re all gunning for the same thing… a diversity of voice and thought can really help.” Likewise, Bradley was the only Black person in his team when he started, and was “always second guessing” himself. He said you need to “throw away your pride… shame and pride will keep you back.”

Sat and Bradley then gave career-specific advice, regarding getting ideas and pitches considered. Sat said that “in order to pitch an idea, you have to do your research.” You need to think about how your idea serves the channel’s needs, regarding things like demographic and style. Sat reassured that “ideas don’t have to come in from an established production company or someone experienced”, as they “want to hear ideas from everyone.”

Bradley then asked Sat about the impacts of COVID-19 within the industry. Sat said that it has changed and will continue to change the industry in many ways, hurting the freelance community more than anything. But Sat remained positive, as “out of adversity comes opportunity” and he’s “hoping that something good does come out of this that can redefine television.”

After a couple more questions, the two spoke about the pressure “to be great all the time”, that is particularly faced by BAME people in the industry. Bradley described it as a voice in head saying, “there’s not many people that look like me in this industry… if I mess up, I’m messing this up for the next person.” Ultimately, “you can’t be great all the time” – and that is completely okay!

After then giving their respective career highlights and lows, Sat and Bradley gave their thoughts on putting your ethnicity on your CV, as asked by an attendee. While there isn’t a strict yes or no answer to this, as it is ultimately a personal decision, Sat said that it’s important to “use everything to your advantage to get that job”, and “if being BAME is what gets you to the front of a queue, grab it and get to the front of that queue.”

The session wrapped up with both Sat and Bradley being asked to give one top tip based on their experiences working in the industry. Bradley’s is to “be resilient”, and “if you’ve got an idea, stand by it.” Sat’s is to “be ready to be knocked down, and then get yourself back up… don’t give up, work hard and be honest in your intentions and what you want to say!”

A huge thank you to both Sat and Bradley for delivering a very entertaining session with very useful and inspiring words of advice!

Catch the full session on our YouTube channel here

For this week’s masterclass, we were delighted to be joined by Yasmin Qureshi, MP for Bolton South East and Shadow International Development Minister, who was interviewed by Communities Reporter and CA alumni Sabbiyah Pervez.

Beginning with an insight into the early foundations of her life, Yasmin spoke about the inspirations and motivations behind her political journey. She became an active Labour member at just 16 years old, and later chose to become a barrister, as she wanted to “change the world”, and “if you want to make a big change, entering politics is the best way.” She was selected in 2007 and won the election in 2010, which she described as a “dream come true.”

Yasmin spoke about an array of difficult topics, the first being the challenges for BAME people and women to get involved in politics. As Yasmin informed, even in Labour’s all-women shortlist, it wasn’t until 2010 that the first BME women were selected. When asked why it took so long for women like Yasmin to be elected, she responded with “they weren’t ready for a BME woman all those years ago.” Touching on biggest the contributors to her success, Yasmin spoke of her detailed CV, experience and simply how she comes across as a person. She had “learned a very valuable lesson about how to fight a selection.”

Yasmin touched upon the concept of “pigeonholing”, or the challenge of being strictly referred to as labels and solely representative of ethnic and religious origins, which can sometimes take away from other traits. She reminded us that while it may seem that you are being reduced to these traits, it is important to remember that “you are still able to offer something and change mindsets – which makes it worth it.” Later, when speaking about the challenge of navigating as a BME woman in a predominantly white male space, Yasmin’s advice given was to “believe in yourself, and have confidence in yourself… if you persevere, you will win.”

Yasmin then spoke about her key historical moments and personal achievements, including her being elected MP in 2010 (she was one of the first Muslim female MPs), and having qualified as a barrister during a time of few female BME barristers. Yasmin spoke about a few of her campaigns, mainly elaborating on her most recent one based on how religion is represented in the media. In her words, “if negativity is portrayed, that negativity transfers to how we view people”, which is “destructive to society.” Her aim with such campaigns is to bring issues to the forefront of not just the minds of the masses, but to the minds of those in power.

Yasmin’s work in the United Nations in Kosovo in the midst of a war involved helping set up safe houses for women who’s been trafficked, allowing people access to free legal aid, and setting up the Ministry of Justice to make sure that the traditional criminal law justice system runs properly and safely, which Sabbiyah described as “a legacy.” When asked if this work, as well as having been told harrowing stories by locals, impacted her political judgement, Yasmin said that it helped her “want to make the world a better place.” Yasmin spoke of the importance of challenging narratives and hatred about any group of people, because “when hatred goes unchallenged, you get neighbours turning on neighbours.”

Yasmin touched on the impacts of COVID-19. Though said she wasn’t too badly affected, she recognised its discrimination and destruction, her main concerns being economic funding in schools, and the discerning figures that show that more BME staff/people died. Yasmin wrote the first letter to Hancock questioning why more BME people have died, and has actively worked to try to resolve the funding issues. Her future tasks involve addressing these economic issues further.

One attendee raised the point that though the gender and BME minorities are starting to be filled in politics, the socioeconomic margin isn’t. When asked why those involved in politics are likely of the middle class and academics, Yasmin reassured that there are equal opportunities for all, suggesting programmes run by universities, internships run by parliament itself, and to “get involved in a political party or campaign.”

An attendee asked what advice Yasmin would give to her younger self, to which she replied, “be prepared to make sacrifices”, and to trust your conscience and intellect. She said:

The session was wrapped by Sabbiyah talking about her own experiences and ambitions: “Trust your own intellect. I love being out of my comfort zone and thrive on doing new things. I don’t want to be seen as a token brown girl but want to report on anything and everything”.

A massive thanks to both Yasmin and Sabbiyah for their time and their incredibly wise and inspiring words.

Creative Access got the chance to speak to author Kalynn Bayron about her latest book, Cinderella is Dead – a young adult retelling of Cinderella with a Black, queer protagonist at its heart. We discuss favourite fairytales, representation, and advice for aspiring writers. 

Q: Tell us a little bit about yourself!

I’m Kalynn Bayron, author of Cinderella Is Dead. I live in San Antonio, Texas but I grew up between Anchorage, Alaska and Portland, Oregon. I am a classically trained vocalist. I love musical theatre, horror movies, and, of course, books!

Q: Your passions are broad, from sports to music. What was it that led you to writing?

I think I’ve always wanted to be a storyteller. That’s the common theme that runs through most of the things I’m passionate about. Literature, music, theatre, movies—they’re all mediums for expressing emotions, for telling stories. I knew I wanted to write because I was a reader, first. I read everything I could get my hands on from a pretty early age. And even though I was always reading, I didn’t see a lot of people who looked like me on the page. I started writing for that younger version of myself who wanted to see Black girls in ball gowns, saving the day, and being the heroines of their own stories.

Q: What is Cinderella is Dead about?

Cinderella Is Dead is the story of 16-year-old Sophia Grimmins, a young girl living in the kingdom of Mersailles—it is the place where Cinderella lived and died 200 years before. Cinderella’s story has become the backbone of this society and young women are expected to follow in her footsteps by attending the now mandatory annual ball, where they are chosen by prospective suitors. This kingdom has used Cinderella’s story to manipulate and control the women and girls who reside there. As Sophia is preparing to attend the ball she grapples with how this story doesn’t speak to who she is or what she wants. She’s in love with her best friend, Erin, she doesn’t want to be married, and she watches the people around her fail to help her at every possible opportunity. The ball is a turning point for Sophia. She makes some decisions there that put her on a collision course with Mersaille’s ruler, and in the process she uncovers some earth shattering truths about Cinderella, Prince Charming, and the fairy godmother. It’s a story about raising your voice, about telling the whole truth when it comes to our history, and about telling Black queer girls that they are enough just as they are.

Q: What made you want to tell Sophia’s story?

Cinderella is a pretty popular tale. I wanted to retell a story that was instantly recognizable and deconstruct it in a way that centered the kinds of people who are nowhere to be found in the story itself, mainly Black, queer people. I wrote this story that explores not only how fairy tales have the power to personally affect who we become, but also allows the reader to see this fairytale world through Sophia’s eyes—this young girl who is actively harmed by the societal norms the fairytale itself perpetuates. It’s a continuation of the Cinderella story and a kind of reworking of that already established framework that makes it accessible to people like me, while also being wrapped in this dangerous, magical mystery.

Q: What’s your favourite fairytale?

Probably not something that’s very well known, but there is a story called The Juniper Tree. It’s about a young boy whose mother dies and his new stepmother resents him so much that she kills him and then frames her younger daughter for his murder. Then he comes back as a bird to try and get the towns folk to solve his murder. Very dark, very creepy. But I’m kind of drawn to stories that have elements of horror and fantasy blended together.

Q: What inspired you to give this classic story a dystopian twist?

It was the question of what happened after Cinderella got her happily ever after. You get married and then…what? You’re guaranteed a long happy life? I imagined a world where maybe, Cinderella didn’t have that opportunity and I wanted to know what the people living in the kingdom she ruled over thought of her and her story. It felt like a good entry point into this narrative that is essentially about a fairytale being used as propaganda to manipulate and control the people living in the place where Cinderella lived and died.

Q: You’ve spoken about how important it is for readers to see themselves reflected in your work. What do you think the publishing industry can be doing to champion diverse stories?

There are so many things, but I wish publishing threw as much support behind our stories as they do for stories by and about white/straight/cis people. There is this myth that our stories don’t sell, so we don’t often get as much support. And then guess what? Our titles don’t do well because there wasn’t enough (or any) marketing and publicity. The title tanks and then we’re told, “See. It didn’t sell.” It’s a vicious cycle that becomes a self-fulfilling prophecy and it actively harms marginalized authors. Our stories are worth championing and our readers are waiting.

Q: What’s your advice for aspiring writers?

Don’t wait to be inspired, sit down and write. Be persistent above all else because we all have days when the words don’t flow, the rejections get the better of us, or things just aren’t going to plan. You have to keep going.

Kalynn Bayron’s book Cinderella is Dead is available to order now.

For this week’s Thursday Thoughts session, we were joined for an honest and thought-provoking conversation with Robert Peston and Kishan Koria.

Robert Peston is ITV News’ political editor and presenter of the politics show Peston. A journalist, presenter and writer, he has published four books and won over thirty awards for his journalism, including Journalist of the Year and Scoop of the Year from the Royal Television Society. As part of his work making the creative industries more accessible, Robert has worked with Creative Access for years and has also founded the charity Speakers for Schools, helping young people access opportunities through inspiring school talks and work experience.

Kishan is a producer on Peston. He first began there as a Production intern through Creative Access after graduating from the Centre for Journalism with an MA in Multimedia Journalism. Four years later, Kishan is now a Producer on the show. In his new role, he revealed that he now has more input on “what the news is, who the best guests would be and what are the issues people want to hear discussed. It’s a great job.”

Kicking off the discussion, Kishan had lots of great advice for those starting out in the industry. He explained that “the first job is the hardest job to get, I was lucky in the sense that Creative Access fulfilled that for me … If you’re struggling to get your first job don’t worry, once you’ve got there, all you have to do is be good, be keen and get stuck in, then actually you find the industry is a lot easier to navigate than you think it is.”

If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it

When Josie asked, “Do you think it matters if that first job isn’t your dream role? Can you find your journey once you’re in?” Kishan answered, “You meet people all over the industry as soon as you’re in. No matter what show you’re doing, you’ll make contacts. They become your friends and you can get an idea on what their job is like and before you know it you could be working with them.” He also emphasised that “the thing that’s been most useful for me is that I really love what we cover … If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it because it’s just what you want

to do.”

Robert kicked off by talking about his love of journalism: “The obvious thing about being a journalist is that you do have to love it. I’ve always loved trying to understand the world, I’ve always loved meeting amazing, interesting people, which is part of what you get when you’re a journalist. Historically, I’ve loved trying to get scoops.”

He reflected on the best and worst parts of his role, including bumping his head during an interview with Michael Fallon MP and being frustrated by politicians who refuse to answer this questions.

When reflecting on reporting on the current pandemic, Robert also shared: “The last few months have been exhausting, but I’m bloody lucky to do what I do … Trying to make sense of it is fascinating.”

He spoke about the challenges of starting a career during a pandemic, with Robert reassuring the audience that “when everyone else is scared, that’s the moment to build. It’s a lesson for all of us as individuals; stand your ground and you’ll get noticed.”

When Kishan asked how he started out in the industry, Robert explained that he “did the odd bits and pieces for our school newspaper and uni magazine but there genuinely wasn’t a big plan to be a journalist … though after some work experience I realised I didn’t want to do anything else.” He also pointed towards the opportunity in creating your own content: “The great thing about doing news or creative stuff in the media is that … there’s an enormous amount you can do on your own with technology to improve your skills. It was one of the things that didn’t exist at all when I started out, the ability to self-publish blogs, videos, audio or podcasts … I’m not trying to minimise the challenges but there are amazing opportunities for young people.”

“Fairness is desperately important, and we’re a long away from having a society that is fair.”

When the conversation then turned to his work with Creative Access, Robert answered, “As a matter of principle, I’ve devoted a bi

g chunk of my life to a particular form of encouraging opportunity … Anything I can do to help any talented person get on, on the basis of merit. Background shouldn’t be a factor, where you come from shouldn’t be a factor. Fairness is desperately important, and we’re a long away from having a society that is fair.”

When Kishan said he was grateful to Creative Access for joining his show, Peston told him that, “you’re an absolute foundation of the show, just to be absolutely clear, we’re not taking people who are less talented. Kish is one of the most talented people I’ve ever worked with. All we’re doing is making sure we’re seeing the world properly and seeing talent where it really is.”

“I’m optimistic about the future of television and the media. The need for it is greater than ever.”
Finally, when looking to what’s next for the media industry, Robert revealed that, “I’m optimistic about the future of television and the media. The need for it is greater than ever.” He emphasised the importance of media representing different experiences on how people to see the world: “Its not always easy to talk about broadening your vision, which shows the importance of organisations like Creative Access. The great thing about what you do is that you bring people into the studio and workspaces where I am, people with a completely different set of experiences, who are there in a very positive way to challenge me.”

With huge thanks to Robert and Kishan for their time and wise words.

You can view the whole conversation on our YouTube channel here.

We spoke to Hannah Bond, who works with our friends at Bookouture – a global digital publisher of all kinds of commercial fiction that is part of Hachette UK. She shares with us her top tips for getting into the publishing industry

1. Do your research

If you’re applying for a job at a publishing house, learn as much about them as you possibly can before you write your cover letter. You’ll find plenty on their website, but also look at the Twitter feeds (most people in publishing are on Twitter…) of key people from the organisation to see what books they are excited about and what authors they’ve been signing. You should know all the big hitters for the company you’re applying to work at.

2. Be specific

Armed with all that excellent research, use it in your application and, if you reach the interview stage, in person. After you’ve read as much as you can about the company, explain to them why you want to work for them – whether that’s because you like the kind of books they publish, or think your transferable skills would be a good fit. Don’t just say you’ve always loved books – talk about things that the company has published that you love, and why. Never, ever use the same cover letter for more than one job application: if your cover letters could work for more than one job, you’re not being specific enough when you write them.

3. Be yourself

Lots of the people applying for publishing jobs have the same sorts of skills and experience, so you need to think about what you can use to make your application stand out from the pack. You might be fresh out of college and feel like you don’t have any interesting experience to bring to the table, but even if you haven’t got very far in your career yet, you’ll still have passions and opinions – let those shine through. Think about transferable skills you might have, even if those are from a Saturday job at a supermarket or running a society at university. Highlight the things that are going to make you attractive to this role, rather than focussing on the usual buzzwords like ‘team player’ without evidence.

4. Be passionate – and let it show!

Hopefully, you’re applying for a job in publishing because you’re really keen to work in the industry. Make sure the people assessing your application know that! Don’t be afraid to be excited and enthusiastic: publishing is a fairly informal industry, and it’s definitely appropriate to let your personality shine through. The hiring manager will be looking for someone genuinely keen to work at their company.

5. Be open-minded

There are lots of fascinating areas of publishing and more great jobs available than people realise. Even if, ultimately, you’re sure you want to work in Publicity, for example, don’t let that stop you from considering entry-level roles in, say, Contracts, Sales, or Production. Those areas of the business are less visible, so fewer people know about them and apply for them, but they are excellent ways to get into the publishing industry and will give you lots of transferable skills and knowledge of how the company works that will put you in an advantageous position when that next job comes up. You might even find you love the area you start in and don’t want to leave! In the same vein, even if your goal is to work for a big trade publisher, look at smaller publishers, academic publishers, and agencies when you’re starting out too.

You could also consider working in a different industry and then moving sideways. If you want to work in Marketing, for example, you could always look to get an entry-level marketing role in another industry, then apply for Marketing jobs in publishing when you have more experience.

6. Make the most of every opportunity

People in publishing are, generally, really friendly and happy to answer questions and chat to people who want to get into the industry. If there’s someone you really admire on Twitter, drop them a message and ask if you can email them or have a chat on the phone about their role. If a publishing house is running a talk or an event, go along if you can and talk to the people running it about the place they work. If you manage to get an internship or work experience, talk to everyone around you and soak up as much knowledge as possible.

7. Don’t get disheartened

Getting into publishing can be tough: it’s a competitive industry and it’s not unusual for there to be hundreds of applications for every position. It might take you a while to get that first job, but don’t give up if it’s what you really want to do. If you’re not getting through to interview stage, it’s a sign your cover letters and CV need work. If you’re getting through to interview stage regularly but not getting the job in the end, make sure you ask your interviewers for specific feedback – they will be happy to give it. As you refine your applications, you might get to the stage when you hear that you’re a really strong applicant, but someone else pipped you to the post: that means it’s just a matter of time, and at some point, everything will click and you’ll be the right person for a position.

We are thrilled to announce that the inaugural UK scholarship, awarded by Getty Images in partnership with Creative Access, has been awarded to Abigail Holsborough.

In March 2020, in partnership with Creative Access, Getty Images launched their inclusion scholarship, with the aim of supporting emerging editorial talent within minority groups, offering aspiring photojournalists the creative means and solutions to pursue an education that will enable careers within the industry.

We are pleased to announce that the recipient of this photojournalism scholarship grant of $10K is Abigail Holsborough. Based in London, Abigail is pursuing a BA in Fine Art Print and Time-Based Media at Wimbledon College of Art.

In response to receiving the grant, Abigail said:

Creative Access CEO, Josie Dobrin, said:

The Getty Images Inclusion Scholarships are part of the Getty Images wider Grants program, which, since its inception, has awarded US$1.7 million to photographers and filmmakers worldwide. Please visit Where We Stand to learn more.

Here at Creative Access, we had the pleasure of speaking to British feminist queer illustrator Florence Given about her debut book, Women Don’t Owe You Pretty, as well as her activism and using your platform to incite change.

Q: Tell us a little bit about yourself!

I’m 21 years old, I’m a white cis queer woman, I live in London, I’m an artist, author and illustrator and I dedicate my entire life and my work to unpacking societies long-held beliefs, particularly the ones that exist in my own mind about myself, my identity, and what I’ve been taught to believe about others! I want to poke holes in the heteronormative façade that has encouraged women to sacrifice themselves and abandon their desires for validation, particularly validation from men. This particular view on feminism was born from leaving an abusive relationship, one I didn’t recognise as abusive until much later. I aim to encourage women to spot these red flags so they’re able to hopefully avoid these situations before it’s too late and they’re in the fog of emotional manipulation.

Q: People know you for your vibrant illustrations and passionate activism. Did one inspire the other or had you always wanted to be an artist?

I have been making artwork since I was about 14 years old for my art GCSE, where I was creating illustrations and paintings of naked women with wonky tits! Although it wasn’t intentionally political at this time. I think my first ‘catalyst’ for introspection was when I separated from the clique I was in at school. I didn’t like the person I had to become just to ‘keep my place’ in the group and once I was out of it that’s when I started to tap into my own self – through isolation. A lot of realisations were born from making that decision that inform my art today. I stopped viewing women as people to tear down in order to make myself feel better, empathised with their pain, and learned how to navigate their projections to cope with the bullying. I journaled in my diary about my experiences and these uncomfortable truths for years. It wasn’t until I went to art college that I decided to do this with slogans, as I also then learned the terms ‘sexual assault’ and ‘sexual harassment’ and quickly became charged with rage at how normalised this behaviour was, and how I’d experienced it so many times before.

Q: What is Women Don’t Owe You Pretty about?

Women Don’t Owe You Pretty is an exploration of interpersonal relationships through a feminist lens, and a book that I hope encourages accountability for our actions and our beliefs, as well as pointing the finger at patriarchy/racism/capitalism. Because those systems exist inside of ourselves, too.

It’s a book full of lessons I learned the hard way through making mistakes, through inflicting my unhealed wounds onto others, or having someone’s unhealed wounds projected and inflicted onto me. I research a lot of psychology articles and listen to podcasts of therapists to better understand my experiences, and the lessons I drew from my experiences are in this book! A lot of the time these wounds we have and take out on others are caused by systems of oppression, and in my case, I inflicted a lot of wounds and insecurities I had about myself from patriarchy onto other women, to make me feel better about myself and my supposed “flaws”. The feedback I’ve had about my book so far is that the chapter on internalised misogyny (“refuse to find comfort in other women’s flaws”) was the hardest and most uncomfortable to read – and I’m so glad. I cringe thinking about the person I used to be, and how still to this day I have intrusive thoughts about women that enter my brain! I talk a lot in my book about how to deal with this and how to cut these thoughts short.

Q: You warn your readers that the book is “full of uncomfortable truths”, were these what led you to writing your book?

Yes. I’m no longer a person who’s afraid to dive deep and face myself, and that’s part of why I’m able to spend so much time alone and as a result, protect my space! Because if I don’t mind being alone, it means I’m less likely to entertain people who seek to use, abuse or mistreat me just because being the comfort of being in a relationship makes me feel validated or ‘loved’. Because I already feel loved by someone – myself. I have spent years surrounding myself with people who weren’t healthy for me or my growth, purely because they helped to distract me from facing and healing my wounds. The thought of doing that and being alone was the most frightening thing on earth! I chased distractions, in order to avoid facing whatever insecurity inside me needed looking after and examining. I learn multiple uncomfortable truths about myself through my relationships with others. I fucking love human beings. I love working together to understand each other better. The people in my life support me and enhance my growth, and part of that involves calling each other in, on behaviours that are harmful.

Q: How important is it for you to use your platform to highlight social issues?

My platform was built on shouting about social issues and my experiences, so for me, it’s the most natural way to use my platform! I think it’s incredibly important that we use whatever voice we have to incite change. Platforms don’t have to be thousands of Instagram followers, it could be your family household. That’s your platform, open their minds!

Q: How politicised do you think art can be and what is your advice for aspiring artists?

Art can be as political as it wants and needs to be. Everything is political. Even shagging is political!
My advice to aspiring artists is to make work that draws from your personal experiences.

Q: How has life in lockdown been treating you?

I’ve been going on lots of bike rides and breaking down some internal confidence barriers I didn’t even know existed as a result of this. I’ve been searching deep into myself, facing all the ‘ugly’, working through old behaviour patterns, and allowing myself to be slow too.

Florence Given’s debut book Women Don’t Owe You Pretty published by Cassell, £12.99 hardback, is available to order now.

For this week’s Thursday Thoughts, we were thrilled to be joined by British television presenter, children’s author and wheelchair basketball player Ade Adepitan and Raj Sandhu, Westminster Correspondent for BBC Scotland.

An international athlete (his team won the bronze and gold medal at the Paralympics), Ade then made his debut on the screen presenting the Games on Channel 4 in 2012. Since then, he has gone on to write several successful children’s books, Ade’s Amazing Ade-ventures, featuring a black, disabled protagonist at the forefront – making a huge impact in the sporting, television and publishing world.

Raj – a former Creative Access intern at HarperCollins – was in publishing for two years before realising that her heart was in journalism. Raj went on to win a place on the prestigious Gareth Butler trainee scheme before joining The Nine, a channel covering stories across the globe from a Scottish perspective.

Raj launched the conversation on the various careers Ade has had so far. Ade responded that, ‘the idea of being a one career person is over … It’s quite exciting because it means you have an opportunity to try so many different things throughout your life.” When reflecting on his work from being a Paralympian to currently working on a climate change documentary, Ade admits, “I don’t often take time to look back and think look what I’ve achieved, I try very much to stay in the moment … yes, it is probably a lot, but I’ve never really thought about it!”

When making the transition from sport to television, Ade revealed he was “lucky to meet a few people who got me and understood I had more to offer than just sport”. Raj stressed the importance of having “a cheerleader team behind you, it’s not just about you and being resilient … you also need a team of people behind you, and when you’re in your down days, they can lift you up and tell you, no you need to keep going.” Ade agreed, saying, “You need enablers who believe in you, and sometimes believe in you more than you believe in yourself.”

After initially feeling embarrassed to get an agent because he believed he wouldn’t get into the industry, Ade was approached by an agent when his television show Tiger, Tiger ended. Raj then asked whether Ade had any advice for those aspiring to get into television today: “How do we get more enablers into the industry that can bring in people who aren’t the norm?” Ade’s answer was in the opportunities around today’s technology and platforms: “You no longer have to rely on TV as the only way to get into the media industry … you can make your own stuff” such as livestreams, videos and blogs. He encouraged this as a great way to enhance your own skills for future roles during lockdown.

The conversation then closed with a discussion on the Black Lives Matter movement, tackling systemic and institutional racism, and what the industries can do to change. When Raj asked what Ade’s experience has been as a black man in the media industry, he answered honestly:

“Complicated. It’s been difficult because there’s always been preconceptions and misconceptions about who I am, what I should present and whether anybody would watch what I’m on … It’s really important for people coming into TV, and this isn’t just about your cultural background, this is also about your class, you have to fight for the right to be you. Don’t try to modulate who you are to fit into TV and try to be someone else. You have to be yourself. I hope the hard graft and work I’ve done will make it easier for other people like to come in because I’ve shown it can be done.”

With huge thanks to Ade and Raj for their time and wise insight.

You can watch the whole discussion on our YouTube channel here.

Posted on June 26, 2020

Marketing platform Creative Brief have featured Creative Access’ More Than Words campaign in their latest post. The post addresses some of the findings from Creative Access’ On The Verge report regarding the impact the coronavirus crisis is having on underrepresented communities within the creative industries. You can read the full article here.

Sophia began her career as a Creative Access intern working as a Development Researcher for an independent TV production company in Manchester and is now on the Creative Access Advisory Board.

Over the last five years, Sophia has been developing her portfolio in the factual documentary space and currently works as an Assistant Producer for Nine Lives Media. She recently finished on the BBC series ‘I’ve Been There’ which explores a range of challenges young people are facing; inviting celebrities to talk candidly about their experiences and share coping mechanisms. Her credits include, I’m Coming Out, My Life: Hike to Happiness and Dispatches. Before getting into TV, Sophia largely tailored her undergraduate degree around black identity and post-modernism.

In the post below, she shares insight into navigating unconscious bias in the creative industry as a Mixed-Race woman. Her poem provides a snapshot of her experiences growing up in a predominantly white town and challenges the normalisation surrounding the need to ‘pick a side’ at a time when unity is paramount.

I feel like I’m talking on behalf of many of my mixed-race peers when I say that the question “do you feel more Black or more White?” has been inscribed on our eardrums for as long as we can remember. Oh, that old chestnut! Given that race is a rigid social construct, diminishing blackness and whiteness to interchangeable feelings implies that mixed-race individuals can’t be their whole self without racially classifying and evidencing where and how they feel most ethnically affiliated.

Under Jim Crow in America, the One-Drop rule did not allow for mixed-race children to ponder the prospect of white privilege. Anyone with black ancestry was considered black; meanwhile in the UK mixed-race babies were also deemed subordinate. For years people of colour have been governed by a state of racial hegemony, a system that manufactures a dominant cycle of societal norms and more to the point, systemic racism.

There’s some painful irony in being asked a question that is undoubtedly tied to a premeditated stereotype, as though the person asking the question is so fixed on their vision of how they see you, your answer is frankly invalid – the aim merely to affirm their belief as opposed to engaging with yours. Often many of the people who ask this question are those who say, ‘they see no colour’, colourblindness being yet another form of unconscious oppression in and of itself.

While on the surface the inquisition for you to ‘pick a side’ may not be malicious, for me it’s representative of many deeply rooted messages. Here are a few;

A. Our identity is fluid and we have the physical capacity to change or adapt to the state of becoming more black or white ‘should we decide’. It feeds the notion that each ‘side’ can be turned on and off despite our skin remaining the same.

B. Unbeknown to some, the expectation for us to pick a side, continues to perpetuate a state of self-conflict and a lack of belonging.

Then there’s C. the need for mixed-race people to prove or justify their identity repeatedly throughout their life has become a tool used to help others distinguish what conversations may or may not be socially acceptable around you and in some cases is used as a gauge for how racist they can be in your presence. This is a tool to protect their own fragility.

Daughter to a British-born, Black, Caribbean Mother and White, German-British Father, during my late teens I felt an overwhelming desire to begin studying Black History and Feminism. In doing so, I unlocked a part of me that was earlier denied. My own self-discovery continues to be led by stories and experiences the National Curriculum fails to teach and TV underrepresents:

At a time where education and accountability are vital, I urge creative industries to reframe the discourse they use around race and more specifically the black community. Companies and creatives need to play an active role in tone policing their discussions and reconditioning what is and isn’t acceptable under the guidance of diversity and inclusion experts and black and ethnic minority groups. Fundamentally this process starts with a willingness to review and reform a system that is clearly failing its workforce and its audience. For me, inclusivity is non-negotiable, especially if we want to start seeing BAME creatives in senior leadership positions that have the capacity to contribute towards real structural change.

In an open letter from the We Are Doc Women collective, they highlighted the urgent need for action.

“With 75% of ALL television in the UK being directed by men, and only 2.3% by BAME directors, we are failing our industry and we are failing our audiences who are denied access to a diversity of voices.”

The TV industry still oozes white privilege and has an undeniably disproportionate divide across, race, gender, class, and disability representation. It’s the conversation that goes on behind closed doors that we need to infiltrate, disrupt, and restructure. Starting to address unconscious bias is only the beginning.

‘Mixed Chick’

Black or White

pick a side

one without the other

why must I hide?

If I bled myself of colour

I wouldn’t be alive

I know my blackness is the reason that
I feel this pride.

They called Momma a coconut

mocked for her ‘nappy hair’.

Her father was an angry man…

she left high on lover’s air.

No privilege could protect her

against the cards life dealt

and the world’s given her reasons not to love herself.

Mixed race babies

‘the ultimate sin’

yet they say when two hearts unite as one

both sides can win.

A token in a broken system

advertising change

a child with just enough different

to be unique,

yet the same.

A crown so big

kids discreetly cut chunks out

locks tied to a history

teachers daren’t shout about.

What even are you?

Human, the last time I checked?

When you ask about my roots

say it with your chest.

How can you connect to oppression
when you weren’t present?

When you speak about entitlement
do you count your blessings?

Can this Mixed-Race woman make a few confessions:

I am not exotic because I’m lighter in shade.

The black in me wasn’t enough
excuse for you to question my grades.

My telephone voice isn’t an attempt
to sound white.

Just because I like hip-hop doesn’t mean
I’m down for a fight.

Whether you’re black or brown there’s an expectation
that you owe all your success
to someone with a higher status.

You can’t pet my hair,
my curls don’t want your attention.

If I quote black creatives then they a mention/

I won’t repackage influence
like some new invention.

My twerk skills are average
and so is my singing

When you say the ‘N’ word my ears start ringing.

You can’t slag off all immigrants
but say “I’m okay”
and think your outward discrimination is going to wash with me.

Just because I’m Jamaican
doesn’t mean I’m Anti-Africa.

Shoutout to the Motherland,
my sisters know that I stand with them.

Stop asking me questions about feeling
more Black or more White…

preaching anti-racism while encouraging DIVIDE.

By Sophia Slater.

You can follow Sophia on Twitter at @SophiaSlater_

It is evident that young people from under-represented communities are disproportionately impacted by the pandemic; more likely to be furloughed, have work canceled or postponed; more likely to be affected by the COVID virus itself, and more likely to be impacted by the longstanding structural inequality within the creative industries. Now more than ever there is a need for diverse voices to be heard and amplified. As a sector that aims to represent society, the creative industries have a responsibility to address this issue.

If you’re serious about becoming a diverse workplace is this explicitly stated in your core values? Diversity is not an add-on, it is at the heart of your brand culture.

Look at your data; can you attract, recruit, develop and retain underrepresented workers? Watch out for micro inequities in existing teams. Are there patterns to who is included and whoʼs being left behind? Where there are weaknesses, figure out why and what you can do to solve this.

Conduct regular anonymous surveys, determine where your short comings are, and respond to feedback. Gaining insight on how to improve your workplace from employees is a crucial step towards diversity.

Discuss the challenges and solutions, hold your company accountable to your targets and ensure momentum is maintained over time.

Be transparent about what change you want to achieve, over what period of time, and how you will be accountable. Book in regular review meetings.

Change your hiring process so you are actively recruiting from under-represented communities. Avoid hiring by word of mouth. Advertise opportunities across a range of platforms to enable a broader range of candidates to find your role and apply.

Review your website, job descriptions, imagery and language used to make sure youʼre as welcoming to all. Mix up who you follow on social media and which places you post to.

Invest in your team; support their retention and progression. Encourage staff forums and offer support structures and opportunities for sponsorship and mentoring. Ensure reasonable adjustments to make sure workers with disabilities, or physical or mental health conditions, aren’t substantially disadvantaged when applying for roles and doing their jobs.

Help people to understand the benefits of a diverse workforce, identify and overcome their unconscious biases and become allies. Become a role model and take personal responsibility for leading change. Invite external speakers and set up industry related networking opportunities to hear new perspectives which challenge your thinking.

Workers from all backgrounds should feel comfortable in their workplace. Recognise and celebrate special days in the calendar to make every team member feel seen and included.

Any organisations wishing to collaborate with Creative Access on delivering the above can contact the team here.

Creative Access has today announced the findings of a survey looking at the impact of COVID19 on talent from under-represented communities in the UK. The survey was conducted to help understand the impact of coronavirus on emerging creatives and what resources we should be providing in order to best support our community.

The survey, of more than 250 individuals was conducted during May 2020. The results clearly show the profound impact of COVID19 on underrepresented communities in the creative industries.

Josie Dobrin, Chief Executive and co-founder of Creative Access said:

“We are deeply troubled by our survey findings which show how our community has been disproportionately impacted by recent events; more likely to be furloughed, have work cancelled or postponed; more likely to be affected by the COVID virus itself and more likely to be impacted by the longstanding structural inequality within the creative industries.”

The survey, conducted during May 2020, of more than 250 individuals clearly showed the profound impact of COVID19 on underrepresented communities. Key findings include:

The findings have been released as a report, entitled “On the Verge; The impact of coronavirus on underrepresented communities within the creative industries”.

The full report can be accessed here.