Is It Time To Stop Using Race In Medical Research?

Posted in Articles, Health/Medicine/Genetics, Interviews, Media Archive, Politics/Public Policy, Social Science on 2016-02-06 19:47Z by Steven

Is It Time To Stop Using Race In Medical Research?

Shots: Health News from NPR
National Public Radio
2016-02-05

Angus Chen

Genetics researchers often discover certain snips and pieces of the human genome that are important for health and development, such as the genetic mutations that cause cystic fibrosis or sickle cell anemia. And scientists noticed that genetic variants are more common in some races, which makes it seem like race is important in genetics research.

But some researchers say that we’ve taken the concept too far. To find out what that means, we’ve talked to two of the authors of an article published Thursday in the journal Science. Sarah Tishkoff is a human population geneticist and a professor at the University of Pennsylvania. Dorothy Roberts is a legal scholar, sociologist and a professor at the University of Pennsylvania’s Africana Studies department. This interview has been edited for length and clarity…

Read entire interview here.

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Saving race

Posted in Articles, Interviews, Media Archive, Passing, United States on 2016-01-27 16:35Z by Steven

Saving race

The Boston Phoenix
May 14-20, 2004

Tamara Wieder

With Symptomatic, the follow-up to her acclaimed debut novel Caucasia, Danzy Senna again delves into race in America — and defies second-book syndrome

IT’S EVERY YOUNG writer’s dream: to have a first novel achieve critical acclaim and monetary success. But a dream is usually all it is, and for Danzy Senna, it was no different. She certainly didn’t expect the attention and praise her debut novel, Caucasia (Riverhead Books, 1998), received; after all, the book was originally written as her graduate-school thesis.

Senna, the biracial daughter of poet Fanny Howe and activist and writer Carl Senna, was raised in Boston in the 1970s — not exactly a hotbed of tolerance for mixed-race families. Her experiences in Boston and beyond have helped mold her as a writer; Caucasia told the story of biracial sisters dealing with some of the same ugliness doled out to her own family. Senna has also written extensively on the frequent experience of being mistaken for white, and how it’s led to an uncomfortable exposure of prejudices and intolerance in those around her.

In her latest novel, Symptomatic (Riverhead Books), Senna again surveys a familiar racial landscape. Her narrator is a biracial young woman often mistaken for white; she develops a friendship with an older, similarly mixed-race woman that begins as an antidote to loneliness and alienation, but gradually grows into something both complicated and frightening.

Q: Tell me where the idea for Symptomatic came from, and how you ended up writing it.

A: I love thrillers, and I love the old Roman Polanski, Hitchcock thrillers, and I wanted to think about race and identity and use the kind of thriller plot. And I was interested in the sort of claustrophobia of race, and the claustrophobia of identity, and how you can sort of become trapped by it. But in this case it’s more literal. I was also interested in doubles, and that comfort that you initially feel when you have an identification with someone, and how that can kind of turn smothering. So racial identity, and then identity in general, sort of as something that can be comforting and terrifying and smothering, all at once…

Q: You wrote in an essay that “in Boston circa 1975, mixed wasn’t really an option.” How did you deal with that?

A: I always identified as black. That was, I think, the only choice for me. The other choice wasn’t psychologically healthy for me, because my whole family didn’t have that option. So I think black was my identity, and in many ways still is, though I think of black and mixed as related in a complicated way. I think of myself as mixed, and I think of myself as part of a long history of African-American writers, so I don’t see them as so distinct as people do these days.

Q: Did you ever feel resentful that mixed wasn’t an option?

A: I didn’t desire that as an option. The black community was where I placed myself, and I felt actually sort of disparaging of people who identified as mixed; that seemed kind of tragic to me, because it seemed like they were avoiding the politics and the power relations that were really at the heart of race, to me. So a lot of my politics grew around this identity growing up, of identifying myself as black and seeing race as much more than a biological category. I think now I don’t worry so much about what I identify as; that just seems sort of simplistic, to suggest that there’s one answer to that. But I don’t feel badly that I didn’t…

Read the entire interview here.

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Artist Phoebe Boswell explores what ‘home’ is, migration, family and Kenya’s troubled past

Posted in Africa, Articles, Arts, History, Interviews, Media Archive, United Kingdom on 2016-01-25 16:29Z by Steven

Artist Phoebe Boswell explores what ‘home’ is, migration, family and Kenya’s troubled past

True Africa
2015-11-05

Phoebe Boswell is one of the most exciting young artists working today. Her moving-image installation, The Matter of Memory, was exhibited at Carroll / Fletcher Gallery in London in 2014 alongside John Akomfrah and Rashaad Newsome. She is involved in Paul Goodwin’s African Diaspora Artists of the 21st Century project and is currently collaborating with Binyavanga Wainaina on a digital literary project called Since Everything Suddens in the Hurricane.

Her work mainly focuses on ‘transient middle points and passages of migration’, hardly surprising given her upbringing. She was born in Kenya, she spent most of her childhood in the Middle East before coming to London where she now lives and works. She took some time to tell us about her exhibition at the Gothenburg Biennale where she recreated her grandmother’s living room and what’s next for her.

Could you tell us about the Gothenburg Biennale and your piece?

The theme of GIBCA this year is A Story Within a Story, a title allows us as artists the opportunity to really play with the construction of storytelling. Elvira Dyangani Ose is at the curatorial helm of GIBCA and has offered us this title with the aim of contesting history, of rewriting it from new and perhaps previously silenced vantage points.

Curatorially, she has brought together works that seek to re-examine and possibly debunk predetermined histories, histories constructed in stuffy seats of power in order to control the collective memory of who we are, where we are, why we are, and how we came to be. The question she and the Biennale are asking the audience is: ‘If you could rewrite history, what would you do?’ It’s a very participatory experience. It’s a Biennale full of works which demand the audience to be active.


The Matter of Memory Courtesy of GIBCA ©Hendrik Zeitler

My piece in it is an immersive installation called The Matter of Memory. Within the Hasselblad Centre of the Gothenburg Art Museum, I have recreated my grandmother’s living room and filled the fabric of it – its wallpaper, teacups, milk pots, lamps, mantelpiece etc – with drawings, props, sculptures, sound and animated projections based on stories my Kikuyu mother and fourth generation British Kenyan father told me of their childhood memories of ‘home’…

Read the entire interview here.

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Sage Steele Opens Up About Being A Biracial Woman In Sports Media

Posted in Articles, Communications/Media Studies, Interviews, Media Archive, United States, Women on 2016-01-23 17:46Z by Steven

Sage Steele Opens Up About Being A Biracial Woman In Sports Media

The Huffington Post
2015-01-21

Justin Block, Associate Sports Editor

Juliet Spies-Gans, Editorial Fellow, HuffPost


Joe Scarnici via Getty Images
Sage Steele speaks onstage at the 2013 espnW: Women + Sports Summit at St. Regis Monarch Beach Resort on Oct. 9, 2013, in Dana Point, California.

The ESPN host talks sexism, racism, NBA Saturday Primetime on ABC and that infamous moment with Bill Simmons

Picture the scene: It’s a sweaty, crowded NFL locker room a handful of miles from the heart of Baltimore, a little over a decade ago. There’s a scrum of reporters, trying to inch closer and closer to the prize interview: Ray Lewis. And as the voices shout over one another, urging the linebacker to look every which way, one journalist’s tone differentiates itself from the rest.

It’s the voice of Sage Steele, and as the only woman amid the horde of media members, the octave of her voice allows her to be the one to grab and hold onto Lewis’ attention.

Today, the 43-year-old Steele is known as both the face and the voice of ABC and ESPN’s NBA Countdown. Come Saturday, she’ll be speaking to millions of us through our TV sets, as the host of the new NBA Saturday Night on ABC package. And come June, she’ll ring in the NBA Finals as emcee of the biggest show of the season, working with names like Jalen Rose and Doug Collins to introduce and analyze the league’s marquee event.

But it hasn’t always been like this for Steele. A self-described army brat bullied throughout high school for her biracial background, Steele has dealt with a unique blend of discrimination in her time. One day she’s too white, the next she’s too black. Her curly, un-styled hair is considered either an asset or a detriment, depending on the week. And even as she has received rave reviews for her work with ESPN, she’s anticipating the day when her increasingly grey locks age her out of her job in a way that simply wouldn’t happen to a man.

In a word, she’s surrounded on all sides by -isms. Ageism, sexism, racism — you name it, Steele has felt it. But today, in her 21st year in the biz, the longtime journalist is able to reflect on her time on studio sets and in locker rooms, and decipher where and when those constant currents of isms, don’ts and can’ts have made her stronger, sharper and more apt for the job.

Steele recently spoke with The Huffington Post about everything from the discrimination she’s faced to her relationship with Stuart Scott, from the importance of having thick skin to that GIF of her and Bill Simmons. She’s spent the last two decades in the trenches — those grimy, Gatorade-stained locker rooms of Indianapolis and Baltimore — and now she’s explaining how she was able to stay on her feet through it all, remaining humble, hungry and happy, no matter what…

Read the entire interview here.

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Passion – Blackwomen’s Creativity: an interview with Maud Sulter

Posted in Articles, Arts, Interviews, Media Archive, United Kingdom, Women on 2016-01-22 21:57Z by Steven

Passion – Blackwomen’s Creativity: an interview with Maud Sulter

Spare Rib Magazine
Issue 220 (February 1991)
pages 6-8

Ardentia Verba

An Interview with Maud Suiter

In 1977 Maud Suiter stepped on a train from Glasgow to London and began her current journey into the interior of Blackwomen’s Creativity. She didn’t know at the time that some day she would call herself ‘artist’ or ‘writer’ – not many teenage coloured girls from the Gorbals in Glasgow had trailblazed a path in that direct­ion, so it was a real exploration into the unknown for her when at sixteen she set out to go to college to study fashion. Since then she has gone on to create exhibitions, including Zabat – a stunning series of Blackwomen’s portraits which will be exhibited at Camerawork Gallery in London from March 15-April 19, and has now edited Passion: Discourses on Blackwomen’s Creativity, recently published by Urban Fox Press

‘Passion’ features many visual artists including Lubaina Himid, Robyn Kahukiwa, Sutapa Biswas and Janet Caron. However Maud Suiter’s vision of Blackwomen’s Creativity includes activities as diverse as Hairbraiding, Poetry and Performance. The many women included in the book were chosen because of their involvement with the Blackwomen’s Creativity Project, an organisation which Maud Suiter founded in 1982. In creating ‘Passion’, she has not only document­ ed the activities of BWCP but also provided ‘an excellent introduction to the range and intensity of Blackwomen’s Creativity in Britain’

Artists Newsletter

Why did you decide to create ‘Passion’?

In 1982 I was the first Blackwoman to join the Sheba Feminist Publisher’s collective. At that time a variety of the women’s presses were mooting ideas for conventional anthologies of Black writing in the UK. I felt that it was too easy for what were essentially white women’s publishers culling some short stories and poems from Blackwomen and then hailing the fact that they had published x-dozen Blackwomen writers. This especially at a time when they were earning significant incomes from Blackwomen writers such as Alice Walker and Maya Angelou.

As Alice Walker has pointed out, Blackwomen must read history for clues not facts, and it seemed essential to leave clues as to a more holistic range of our artistic pursuits. Obviously no academic course in Britain is geared towards working class Blackwomen’s experience across the board, but so many of us have a vast appetite for knowledge—for a herstory. We must create our own, which is what I set out to achieve with Passion.

There comes a time in many of our lives when we say ‘Girl, get yourself a piece of paper’. Around 1985 I was getting so many requests from students, mainly from Blackwomen, to give interviews to inform their dissertations. Hours and hours of Blackwomen’s work goes—unpaid and unacknow­ledged—into quite literally saving Blackwomen from failing their degrees. So few informed Blackwomen artists are employed in institut­ions, that we are co-erced into helping out, at the very last minute, to save Blackwomen artists, no, let me correct that, Black students across the board, that it was obvious that the wheel could not be eternally re-invented.

Passion offers schools, colleges and commun­ity venues the opportunity to invest in a vast wealth of information about our work during the 80’s and then draw from that information in a more creative and challenging way. All of us face racism and sexism in our explorations, and the wonderful articles and portfolios in Passion signpost a continuum of experiences, our litany of survival, which has created the situation where we can, like the Blackwomen’s Creat­ivity Project, network internationally from a position of equality not imperialism.

And so to recap, my ambition was to look at Blackwomen’s Creativity across a spectrum of activities including fine art, childbearing, opera, theatre etc. It is not possible to create a hierarchy of our artistic fields as we are living as Blackwomen in the aftermath of slavery and imperialism. Therefore we need to recognise our creative practices as survival and press for their development from that position. It is no use to sit back on our laurels and think OK, so we were there. We need to be here now, and we need to ensure that we continue to create in the future…

Read the entire interview here.

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When Ancestry Search Led To Escaped Slave: ‘All I Could Do Was Weep’

Posted in Articles, Audio, Autobiography, Biography, History, Interviews, Media Archive, Slavery, United States on 2016-01-19 02:13Z by Steven

When Ancestry Search Led To Escaped Slave: ‘All I Could Do Was Weep’

Fresh Air (From WHYY in Philadelphia)
National Public Radio
2016-01-18

Terry Gross, Host

When she was in fifth grade, Regina Mason received a school assignment that would change her life: to connect with her country of origin. That night, she went home and asked her mother where they were from.

“She told me about her grandfather who was a former slave,” Mason tells Fresh Air’s Terry Gross. “And that blew me away, because I’m thinking, ‘Slavery was like biblical times. It wasn’t just a few generations removed.’ ”

But for Mason, slavery was a few generations removed. She would later learn that her great-great-great-grandfather, a man named William Grimes, had been a runaway slave, and that he had authored what is now considered to be the first fugitive slave narrative.

“William Grimes’ narrative is precedent-setting,” Mason says. “[It] was published in 1825, and this was years before the abolitionist movement picked up slave narrative as a propaganda tool to end slavery. It sort of unwittingly paved the way for the American slave narrative to follow.”

Grimes’ original narrative tells the story of his 30 years spent in captivity, followed by his escape in 1814 from Savannah, Ga. He describes how his former owner discovered his whereabouts after the escape and forced him to give up his house in exchange for his freedom. (An updated version, published in 1855, includes a chapter about Grimes’ later life in poverty.)

Life of William Grimes, the Runaway Slave was again republished in 2008 by Oxford University Press. The latest edition was edited by Mason and William Andrews, a scholar of early African-American autobiography…

…Interview Highlights

On learning from her mother that her ancestors had been slaves

She talked about Grandpa Fuller, who was a mulatto slave. And I inquired about his parentage and she told me that his father, from what she knew, was a plantation owner, and his mother was an enslaved black woman. …

And I’m asking, “Well, that’s weird. Did his father own him?” … I mean, how do you explain … to children that slavery existed in freedom-loving America, No. 1; and No. 2, how do you explain to a child about an enslaved heritage shrouded in miscegenation? It’s not an easy thing to do…

Read the story highlights here. Listen to the interview (00:35:55) here. Download the interview here.

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Ladies and Gentlemen, (Is This) The Next President of the United States(?)

Posted in Articles, Barack Obama, Interviews, Media Archive, Politics/Public Policy, United States on 2016-01-18 18:40Z by Steven

Ladies and Gentlemen, (Is This) The Next President of the United States(?)

Vibe Magazine
September 2007 (Volume 15, Number 9)
pages 172-181

Jeff Chang


Photographed by Terry Richardson on June 20, 2007 in Washington, D.C.

Can the freshman senator from Illinois stick to his ideals and still become the first man to rock Air Force Ones on Air Force One?  We’re entering the most hotly contested election of our lifetime. It s time to decide. Is Barack Obama our man?

On a Tuesday afternoon in May, the lines fora Barack Obama rally are as long as they would be for the rock concerts that are the normal fare here at the Electric Factory, a vast, converted warehouse in North Philadelphia. Even for this mixed city, the crowd is stunningly cosmopolitan. The orderly line includes a coed reading The Bookseller of Kabul, South Asian engineering majors from the New Jersey Institute of Technology, Arab-American law students from the University of Pennsylvania, veteran activists from the National Hip-Hop Political Convention in crisp suits, community organizers in ACORN T-shirts, youngwhitc, black, and Latino parents with kids in strollers, elderly people in wheelchairs, and everywhere, high schoolers —some sporting HOT CHICKS DIG OBAMA buttons, some from North Philly in their school uniforms, others from South Jersey in Abercrombie & Fitch, drawn like the faithful to Mecca.

They have all donated $25 to $50 — star prices for the B-Rock — to be, in Common’s words, ignited. Obama pitches himself as the candidate of change, and many here hope he can turn around a nation polarized by George W. Bush, war, the economy, race, religion, political parties, and even hip hop.

Beverly Washington from the Mount Olivet Tabernacle Baptist Church is wearing her red Sunday power worship suit and gripping her varnished brown cane. Four generations from her congregation have come on buses. The last time she felt this good about politics was two decades ago. “Jesse was real. But now Barack is coming,” she says. “He’s fresh, he’s new, he’s inspiring.”

Carmen Mitchell, 14, got her cousin Anthony Lewis, 17, to ask his mom to write them fake doctor’s notes that morning. They dressed in their summer-bright polos, grabbed their black D&G stunna shades, and skipped classes to catch a train from the boondocks of Conshohocken. Then they hiked two miles from 30th Street Station to be the first in line at their first political rally. They want the wars in Iraq and in their old West Philly neighborhood to end. “He makes us feel like he’s really talking to us,” Carmen says.

Obama arrives backstage, a retinue of Secret Service agents trailing behind. He introduces himself to the employees, looking them in their eyes. On the decks, King Britt cues Aretha Franklin’sThink,” and she wails, “Oh, freedom! Freedom!” Now it really is Obama time. This crowd of 3,000 isn’t the biggest he has seen — there were 12,000 in Oakland, 20,000 in Atlanta and Austin — but as he ascends to the stage, it is deafening. “Spring is here in America,” he says in his soothing baritone. “It’s time for us to renew the spirit of America, and that’s what this campaign is all about.”

When he first ran for state office in 1996, Obama continues, “People would say to me, ‘You seem like a nice guy.’” The crowd laughs. “‘You’ve got a fancy law degree. You could be making a lot of money. You’ve got a beautiful family. You’re a churchgoing man. Why would you want to go into something dirty and nasty like politics?’” Obama talks slowly, as if he’s unsure whether he’s really made up his mind, and when he has an opportunity to go hard, he often gets complicated instead. But while his voice is doing one thing, his body is doing another. He carries his slim 6′ 2″ frame with a hint of streetball swagger. And when he comes to a money line, he holds his position like he’s daring you to charge. His is the opposite of in-your-grill. Obama’s game is finesse.

“We feel as if we can’t make a difference, and so half of us don’t even vote,” Obama says, to swelling cheers. “This nation is founded on a different tradition.” he says, his voice rising, “a very simple idea that we all have mutual obligations toward each other, that we all rise and fall together, that we can value our individualism and our self-reliance, but ultimately we have to lift up this idea that we are connected. And if there are children in Philadelphia right now that are killing each other and shooting each other, and without an education and dropping out, that impacts all of us.

The crowd goes bananas.

When he’s done, he comes offstage to shake hands, followed by the men in headsets. A throng of bodies push toward the barriers. People hold up copies of his 2006 book, The Audacity of Hope (Crown). An elderly black woman fights back tears. Carmen and Anthony reach out to clasp his hand. Aretha sings, “You need me…and I need you.”…

…Obama’s “blackness” has also come into question. “Obama isn’t black,” Salon.com columnist Debra Dickerson wrote. “‘Black,’ in our political and social reality, means those descended from West African slaves.” The debate exposed fears that a discussion about race that expands to include immigrants of color and their descendants might thwart continuing attempts to address the terrible legacies of slavery. And could someone who grew up in Hawai’i and Indonesia really be “black?” Obama’s Southside-for-life wife, Michelle, plays this line for laughs on the campaign trail when she talks about her first impressions of him: “I kind of thought any black guy who was raised in Hawai’i had to be a little off!”

“We as a culture are still confused about race,” Obama says carefully. “There’s this assumption that there’s only one way of being black. That if you are not conforming to a certain pattern of behavior, that somehow you may not be authentic enough. And those of us in African-American culture know that there’s as much diversity in the African-American community as there is in any other community.”

Some took just one look at him to make up their minds. On May 4, CBSNews.com disabled all user comments on its articles about Obama because the Web site was receiving too many racist posts. That same month, he was granted full Secret Service protection, the earliest ever for a presidential candidate who had not previously served — for reasons which reportedly include racist emails sent to his office. Only Jesse Jackson Sr., during his 1984 and 1988 runs, required similar arrangements. “He is both black and black enough for whatever individual or individuals unnerved his handlers enough to seek Secret Service protection,” observed Miami Herald columnist Leonard Pitts Jr.: “That’s a truth that cuts the clutter.”

When asked what he thinks of the “Is he black enough?” discussion, Obama grins. Perhaps it’s that bit of Ali in him. “If you go to my barbershop, the Hyde Park Hair Salon, 53rd Street on the Southside, and you ask my guys in there, people don’t understand the question,” he says. “But it’s something I worked out a long time ago. I know who I am. My friends, my family, my constituency know who I am, and by the time this campaign is all over, America will know who I am.”…

Read the entire article here.

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Meet The 63rd Black Woman In American History With A Physics Ph.D.

Posted in Articles, Interviews, Media Archive, Religion, United States, Women on 2016-01-16 20:43Z by Steven

Meet The 63rd Black Woman In American History With A Physics Ph.D.

The Huffington Post
2015-06-24

Nico Pitney

Dr. Chanda Prescod-Weinstein is a 32-year-old theoretical astrophysicist. Her academic home is arguably the nation’s most elite physics department, at the Massachusetts Institute of Technology.

In one sense, she is among a dying breed. Prescod-Weinstein is a pen-and-paper theorist. “Basically I do calculus all day, on paper,” she told HuffPost. “I’m a little bit of a hold-out. There are things I could be doing by computer that I just like to do by hand.”

But she is also part of a vanguard, a small but growing number of African-American women with doctorates in physics.

Just 83 Black women have received a Ph.D. in physics-related fields in American history, according to a database maintained by physicists Dr. Jami Valentine and Jessica Tucker that was updated last week…

…I think making sure that I remain engaged with my Jewish identity, and particularly the rituals of lighting the Shabbat candles and so forth. I think understanding that all things can’t be sacrificed on the altar of academic career and physics has been really important, and understanding that that balance is not just for my own sake, but is in fact really in some sense in service of doing the physics. I can’t just sit around feeling angry about the number of Black women, or worrying a lot about dark matter. I also have to allow myself to do these other things…

Read the entire interview here.

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A Mixed Race Feminist Blog Interview with Isabel Adonis

Posted in Articles, Autobiography, Identity Development/Psychology, Interviews, Media Archive, United Kingdom on 2016-01-16 15:37Z by Steven

A Mixed Race Feminist Blog Interview with Isabel Adonis

A Mixed Race Feminist Blog
2016-01-15

Nicola Codner
Leeds, Yorkshire, United Kingdom

About Isabel Adonis

I’m a private tutor, artist and writer and I live in Wales. My mother was a white Welsh woman and my father was a black man from Georgetown in Guyana. He was quite a well-known writer and artist. I was born and brought up in London until I was six when my father began working in Khartoum in the Sudan. I lived and went to school there until I was nine when my parents bought a house in Wales. For the next nine years I lived and went to school in Wales and travelled to Africa in the holidays. After five years in the Sudan my father worked in different universities in Nigeria. My parents split up when I was seventeen and my father returned to the Caribbean. My mother did not remarry. In my twenties I trained as a teacher but because of an incident at the school, which I think was race related I decided I would never teach. I have four grown up children.

Do you remember when you first came to understand that you are mixed race?

Yes, around the time that ethnic monitoring was introduced in the UK in the early nineties. I had no notion of being mixed race prior to that. I was not brought up to call myself anything. However I do not call myself mixed race now. I leave it to others to do that kind of thing. I resist being categorised in this way, since it is problematic. Identification functions by inclusion and therefore exclusion. I’m not happy with that…

Read the entire interview here.

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Musician Chi-chi Nwanoku discussing her life and work on Talking Africa

Posted in Arts, Interviews, Media Archive, United Kingdom, Videos, Women on 2016-01-14 04:28Z by Steven

Musician Chi-chi Nwanoku discussing her life and work on Talking Africa

BlackRook Media
2015-05-12

Musician Chi-chi Nwanoku has been discussing her life and work on Talking Africa. Chi-Chi is a passionate advocate of music and particularly the double bass. She is a Principal Double Bass and founder member of the Orchestra of the Age of Enlightenment and Endymion Ensemble. Born in London of Nigerian and Irish parents, Chi-Chi is also a Professor at Royal Academy of Music, a broadcaster, writer and mentor.

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