This weekend saw me away from home at The Outdoor Connections weekend. It’s a weekend away for grassroots groups who are working to diversify the outdoors. Groups and organisations who connect with grassroots communities to offer opportunities outdoors with nature.
So Earth Sea Love CIC, me as Creative Director, was invited along to take part. And I went with Kiwi, my converted campervan, with the hope of camping out on the site of the youth hostel where everything was taking place.
That didn’t go plan as sleeping in my campervan wasn’t allowed on site for what reason I do not know. So each evening, I left the group to try and find a park up for the night.
Stanage Edge, Park District
I’m not complaining though as I found some lush spots to park up and rest.
Now I have returned home, I’m still a bit out of sorts. Not quite landed yet after my time away. So a way for me to get grounded is to make another handmade journal to use for my daily pages moving forward.
Well no sooner than I’d finished it, yesterday evening, that it’s full today. All I can say is that I must have had a lot to process. I know I did use it as my next to-do list after my last journal was used for the same practice. And it’s just helps me get things straight. Clear the decks and start again. Begin to work my way through the things that need to be done.
When you were five, what did you want to be when you grew up?
When I was five I said to my mum when I grow up I want to be a lollipop lady.
I saw a lot of lollipop ladies as I walked to and from school each day. Not only did I love the bright yellow uniform and the hat. But I also loved how they had the power to stop traffic.
Lollipop ladies just walk out into the road put down their lollipop stick and stick up a hand and the cars stop for them.
I thought that was cool.
But the main reason I wanted to be a lollipop lady was because they were always smiling. They always greeted me with a smile and a good morning or the question, ‘Good day at school?’
Lollipop ladies not only looked like they were enjoying their job but they were also sharing that joy with others, even if only for the little time it took for me to walk across the road in front of them with the cars at bay.
They were smiling.
So I wanted to be a lollipop lady when I was five and I told my mum. My mum said I couldn’t be a lollipop lady. No, she said. Maybe when you retire but not until then. You can be anything you want to be Sheree, she said. Save being a lollipop lady until you retire.
I better start filling out my application then as I’m getting old (er).
When my sixth form tutor advised me when I said I wanted to be a teacher, that I’d be better off serving in a shop, I felt I needed to prove him wrong.
That I could be a teacher and a good one at that. I studied hard, got to Uni, struggled financially and to dropped out to gain employment. But that didn’t work out, so I returned to complete the degree and then went on to train at the Institute of Education in Secondary English and Geography.
I had to prove that tutor wrong but I also had to be a positive role model for kids who looked like me; brown and black students.
So inner city London teaching was where I got my first teaching job. I didn’t realise the school was under space measures as a failing school. Every term we were inspected to make sure we improved and got out of special measures. But I loved it as I felt as if I was making a difference.
With my rose- tinted spectacles still on, I didn’t realise I was propping up a system with its purpose to create factory fodder rather than free-thinking individuals.
Fast-forward to teaching in the north east with curriculum responsibility. Actually teaching in the same school I went to as a kid. Some of the teachers who used to teach me were still there including that sixth form tutor who said I would be better off working in a shop.
I showed him he was wrong.
But I also realised during this period, that I was wrong. I was in the wrong career. Not only was the hours long and tasks never ending. Not only was there a distinct lack of creativity.
But I was bored and frustrated by all the rules, timetables and regulations. Basically at every point or time in the school day, everyone knew where to find me. In the same classroom teaching the same stuff. Life was controlled by the bells and the timetable never changed from each week to the next.
I was bored and when I tried to bring in some fun and excitement by inviting guests and creatives, I was told that this is not the way to teach. It’s just not done that way.
I was dying from the inside out. Little pieces of my soul were being eaten away from the rules, the controls, the regulations. I had to go.
I jumped ship without a net and suddenly I was no longer bored but full of wonder and curiosity and fear of the unknown but so much more energy for life. And willingness to explore.
This short piece is a mash up of a certain clip from Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy and music from Insight Timer, called You.
Seen recently in Barcelona at CCCB, Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy is an audiovisual installation that recovers the story of Joaquina, a young woman enslaved on a plantation in Brazil, and her escape.
“A work about archived, forgotten, and silenced voices in the history of slavery and colonialism. This audiovisual installation brings to life the act of “unarchiving” an event recorded in colonial history as an escape. A 15-year-old enslaved girl fled the plantation where she lived, and her owner, after an unsuccessful search, placed an ad in the newspaper offering a reward to whoever found her. The archive reveals nothing more about this incident: it merely collects it as a piece of data. This piece challenges the oblivion, archiving, and silencing of this character. To unarchive, in this context, becomes an artistic and political act that brings Joaquina de Angola out of the shadows of the document, removing her gag and chains so that she can tell her own story. This act not only questions the record but also raises questions and delves into its details. It is an inquiry that brings Joaquina back to life and acknowledges her as a cimarrona, calling upon ancestral memory as well as imagination, intuition, and spirituality. Since the beginning of colonization in Brazil, alliances and exchanges of extraordinary significance have taken place between Indigenous peoples and enslaved Africans, but these have also been silenced. The presence of entities known as caboclos (Indigenous spirits) in all Afro-Brazilian religions is perhaps the most consistent and profound evidence of this. Amazonian peoples, Indigenous peoples from across Brazil, and quilombola communities—formed by Afro-descendant peoples—have shared ancestral struggles for the defense of their territories and against colonization and exploitation. The installation speculates on these possible Afro-Indigenous alliances in Joaquina de Angola’s journey toward freedom.”
This extracted masheup with music created above by myself, hence a found poetry film, is my take at a beginning of exploring fugitivity. I’ve been living, breathing, talking, practicing fugitivity for a few years now. I’ve mentioned it before, and it was Dal Kular who first introduced the term of me via her then newsletter, Field Notes. Dal said at the beginning of Jan 2023,
“Whatever the out-there-in-the-world fuckery is going on in 2023, I declare myself a CREATIVE FUGITIVE. A way of living in this world but not of it.”
Her take on creative fugitivity has stuck with me. I’ve gone on to read more around fugitivity. I’m even writing a chapter, at the moment, around black mothering and fugitivity. Fugitivity is taking over my life. And again I’m creating a project here in my portfolio to collect my wanderings and wonderings around this concept and way of being.
For me in a nutshell, fugitivity is the act of flight. It is the withdrawing of my labour and consent in the current system of white supremacy culture, capitalism, imperialism, colonialism. Fugivitiy is refusal and resistance. Divesting from the current way things are playing out as the few hoard the wealth of the world at the expense of the many.
Originally the fugitive was the runaway, the escapee. Hence why the audio-visual installation and consequent fugitive poetry film was created. I’m starting from the origins of the escaping enslaved. Running, fleeing captivity towards freedom. Freedom being the end point, the destination but in the process of escaping, there is the in-between space between what they were fleeing from and fleeing to. And here in this liminal space is where fugitivity is ripe.
There/ here is the lingering in the midst of flight, where I choose to SLOW down and be. To linger with nature. To seek my joy and pleasure in the world around me on my own terms. Fred Moten in conversation with Saidiya Hartman, both of whom we will be exploring further, said,
“I often use – and I always think of it in relation to Fannie Lou Hamer, because it’s just me giving a theoretical spin on a formulation she made in practice: to refuse that which has been refused to you. And that’s what I’m interested in.”
That is fugitivity as a method, kin-making and place-making, as a practice that I intend to explore within this project archive.
Describe your most ideal day from beginning to end.
A week ago today, I took the journey back to Montserrat. I first visited this multi-peaked mountain range, home of a Benedictine monk monastery, back in 2007 maybe. Then, I was staying in El Bruc, a small village at the base of the mountains, at the artists retreat, Can Serrat, for a month. A bunch of us from the retreat decided one day to climb the mountain range to reach the top, the monastery. To see the Black Madonna we had heard of.
It was hard going. Taking hours, at times using my hands, feet, knees, elbows to reach the top, climbing sheer rock face and rambling through the forests of the National Park.
I was always behind, at the back of the group. Moving slowly, holding everyone up. They kept stopping to wait for me. I told them not to but they said they had to. That they couldn’t leave me alone on the woods. Not knowing where to go, which path to take.
I didn’t ask for their help. They it took upon themselves to be responsible for me. And they resented me for it. Once we reached the top, and entered the Basilica, they all climbed up further steps to go see and touch the Black Madonna. I didn’t go up. I saw her from afar. I denied myself the opportunity to be with her because I was tired. I was also ashamed for moving so slow. For not being as fit as the others in the group. I was upset because my body let me down but also that these strangers had made me feel like shit for being me. For being a fat Black body who wasn’t good enough. I allowed them to take away my joy and self-worth all because I was unfit and slowed them down. But I didn’t ask them to wait on me or look out for me. I wasn’t a child but they seemed to think it was okay to treat me as such. And I allowed them to.
Fast forward to last week, the end of January 2025 and I return to Montserrat. This time I get up early, to catch the special train to Montserrat from the centre of Barcelona. It’s an hour ride on a commuter train heading north out of Barcelona. The train is packed and I’ve overheating with my two coats on, thinking it would be cold in Barcelona in January. I was wrong. The temperatures were glorious. Winter sun has a way of easing the bones, warming the flesh and making everything fluid and relaxed.
The further we moved out of the city centre, the more the train emptied. Until we were moving within the shadow of mountains and trees. The train can let you off at two stops for Montserrat. The first stop is for the airlift up the mountain which takes 4 minutes. The second stop is to catch the slower train up the mountain. 15 minutes of a steep, slow winding climb. I took the second stop as I was in no rush.
Even on the return to Montserrat, I chose once again to make slow progress. Taking my time to reach the final destination. Yes my body is older this time. I’m probably even fatter but I knew I wasn’t going to allow anyone else to dictate my process or to take away my joy.
Once I reached the top of Montserrat, well not really the top, the main station/ base where the shops and cafes are, I popped into the information centre there in the hope of getting a funicular further up the mountain. It wasn’t working this day but I could walk up an easy path to the top if I wanted.
I enquired about purchasing a ticket to get into the Basilica and to visit the Black Madonna this time also. If I could wait till 1.15pm I could see her as well as listen to the choir sing at 1pm for a little extra cost. Of course I wanted to experience it all. So with ticket bought and time to kill, I took my body further up the mountain.
A steep mountain track hugging the rock face took me further and further into the more or less cloudless sky. And I was just breathing in the tranquility and gratitude to be able to make this journey and relive a piece of my past but on my own terms.
There were other people here but it didn’t bother me as I was in my own little bubble of joy, soaking up the sun, the smells of cypress trees and elders and then there were the bells.
Once back down, I grabbed a coffee and just sat outside and watched people go by. My excitement was building, as after years of waiting, I was finally going to see the Black Madonna of Montserrat up close.
The Black Madonna is sometimes referred to by other names, including ‘The Virgin of Montserrat’ and ‘La Moreneta’, sits behind a sheet of glass high above overlooking the alter. One hand holding a sphere is not behind the glass. Her hand sticks though the glass and is available to touch or kiss if you so wish.
Along a corridor and up some steps and then some more to finally come to the chamber where the Black Madonna sits. You proceed in a line past her. Each of us has an opportunity to stop in front of her. To touch her. To pray. I gave thanks to her. And immediately teared up to be with her. To be this close to her. To be able to touch her. I didn’t ask for anything as she is known for granted miracles. I was just happy and grateful to be in her presence.
I journeyed back down to take my seat within the Basilica to then heat the choir song. All the time I can see the Virgin high above the altar looking down on us.
The Choir @ Montserrat
The choir sang for about 15 minutes and gave the congregation a blessing. I’m not religious. I’m spiritual. But I could appreciate the feelings that arose to be within such a remarkable place and to hear such angelic voices rising within the space and vibrating back into my body. Again another emotional moment.
Once the choir retreated. I got myself back into the queue to visit the Black Madonna once again. I was all about getting my money’s worth! No not really, I wanted to say goodbye and just see her up close once again. And as I say, I’m not religious. And I’m not praying or idolising over false idols.
What I see in the Black Madonna is a Black woman. I see myself. I connect with her as she can relate to my suffering. To my body and soul. And I just want to give thanks to her for being there for me at all times. She takes my woes and my joys. She just reflects back to me that we, as Black women, are enough just as we are. No one else needs to bestow any value on us. We see ourselves and we love ourselves. Just the way we are.
After touching her one more time. I walked back into the sun and climbed a steep path up the other side of the mountain, not ready to leave this peaceful sanctuary. A tremendous amount of peace had descended on me during my time within Montserrat and I wanted to carry it with me as I left. Moving became effortless. My heart was light and full of gratitude.
Can you share a positive example of where you’ve felt loved?
As I’ve recently shared my word of the year is LUSH. I love this word. It reminds me of my childhood when everything was LUSH; a way of expressing my enthusiasm and my curiosity. When it wasn’t shunned to be in your feelings. When it was natural to full of awe and wonder.
I’m evoking LUSH this year to get back to that state. To foster these feelings more in my every day. I want to feel the LUSHness of life.
And yes I have been in my feelings this week, even if those feelings have been of pain and annoyance and regret towards my recent accident. But you have to experience all the feels in order to appreciate the joy and pleasure.
As a way of anchoring myself into this LUSH life. In order to have a reminder of where I am, what feelings I really want to wallow in, within joy and pleasure and self-love, I have this green ring I wear on my left hand. It’s a commitment from myself to myself. It’s a reminder of the love I am fostering and leaning into towards myself.
The ring has weight to it. The ring is beautiful. When I wear it I’m feeling it’s there on my ring finger and it’s reminding me I am loved and cared for. I am enough as I am, no conditions. This green ring, significant LUSH, is unconditional love for myself.
Do you play in your daily life? What says “playtime” to you?
Glencoe, January 2025
Yesterday within the snowy embrace of mountains I entered the River Etive.
For the past few days, with the wind and rain and now snow, this river has been swollen and running rapids. It’s the fullest I’ve ever seen it on my many visits to the area. I knew it would be stupid to enter the river during the storms. But I could hear its calls; its incessant chant to come and play.
With the snow falling over night on higher ground, a calming hush descended on the glen. The river was still swollen but took on a slower pace. This was my time to play.
I walked a mile or so up river to a point I’d sourced out would be easier to enter. A gentle slope leading in with stepping stones just off to the side of the major flow of water. A place to sit and rest and allow the water to course over, around and through me.
The walk raised my body temperature so by the time it came to strip down to my swimming costume a sheen of sweat layered my skin. But as soon as flesh hit the air it started to chill. But the outside air was nothing compared to the chill/ cold/ freeze of the water.
I didn’t hesitate as the longer it took to undressed the more time I stood a chilling. I mistakenly judged the temperature of the water on my first few steps in. Making the mistake of saying to myself, ‘This isn’t as cold as I thought it would be.’ Sometimes our minds can get in the way of our bodies. Creating excuses for not doing the things we love. Creating obstacles when really there are none except maybe our fears.
Of course my mind and body were both wrong but I didn’t realise my mistake until I was all the way in, sitting on the rocks, water flowing up to my waist, covering all of my lower body, hands, arms and elbows.
My life! The cold. The pain. The joy. I was laughing into the icy ripples of water. Laughing at the absurdity of it all and the thrill of it all as the cold instead of numbing me, electrified me through my body.
Thank god no one else was around to hear the screams or squeals or the colourful language. What was worse was I’d forgotten to put on my neoprene gloves. My hands were red raw. So I retreated to retrieve the gloves. This could have been my chance to stay out and get warm. But fool that I am, I squeeze my now wet and frozen hands into those gloves and walked right back into the flow. And this time I walked in on my hands so I was on my front. Spread out and immersed. This was me making sure everywhere, all of my body had been hit by the water. Had been hit by the cold. Had been brought back to life.
This is my playtime. Getting back into the flow of an activity that brings me joy. Swimming in the wild. Something I forget from time to time when I allow life to get in my way. Something I remember once I give myself the time and space and permission to slow down. It’s a practice. And so many variables feed into that practice but in the process so much joy and wisdom and clarity is achieved.
Living Wild Studios 