I’ve got a chapter to write and it’s going nowhere fast.
I hate it when I think I have all the time in the world to complete a writing task and then I procrastinate.
I know I procrastinate because it’s important to me. Very important to me and I don’t want to get it wrong. So I do nothing instead.
Well not really nothing. This is my bedroom wall, where I’ve started to put up post-it notes to help me with the chapter on fugitivity.
This makes me feel as if I’m doing something. Seeing this everyday also, I hope, makes something go into my creative brain subconsciously. I’m hoping that living with it makes the wheels start turning and connections being made.
What I’m learning with fugitivity is that is’s not linear. Not a straight line from captivity to freedom, from unfreedom to freedom. It is argued that fugitivity performs freedom ‘as a constant struggle’ ( R. Slavitt cited in Davis, 2016).
This I hold close as I attempt ( struggle!) to write this chapter around fugitivity as this is not going to be a linear chapter from A to B to C etc. This chapter with its content and structure and form will be dancing with unfreedom and freedom, constantly struggling to convey meaning around fugitivity at the same time as remaining free from the academic frameworks and restricts and expectations.
In order to write about fugitivity I need to take on board fugitive methods and practices.
I’m spiralling and circling back and forth in a good way, in an honest way and hopefully the chapter will be the result.
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.
Quantity over quality is a characteristic of whet supremacy culture. Say like with social media, we are wired to focus on the numbers. The number and amount of followers, likes, comments gives us the buzz. Keeps us returning usually. Rather than the quality of interactions. The quality of connections.
But in this instant when I say I’m on a reading tip and boast that I’ve read 12 books already this year, fiction, poetry and non-fiction, I’m taking the buzz of the numbers because I know they were quality reads.
Last year saw me fall off my reading horse. Reading was only happening when I had an extended amounts of time off the clock. Summer reading mostly. I didn’t have the bandwidth or desire to read at any other times. I was too antsy and not able to settle, as too many demands were pulling on my attention.
So I’m really happy that this hibernation season has seen me dive back into books. Physical and digital books. I do not care which as long as I’m reading, expanding my thinking and formulating new pathways of understanding and connection.
So White Tears Brown Scars by Ruby Hamad was completed yesterday. And it so feeds into my experiences with white women. Even though they’ve caused offence, been racist that is, it’s me who’s consoling them and making sure their feelings are not too hurt. Or it’s me having to apologise because my reaction to their racism or them touching my hair without my consent has been deemed far too aggressive and not very collaborative by the organisation or group I was working with.
They are used as a weapon, white tears, to shut down the conversation. To get the white person out of an uncomfortable situation and out of having to look at themselves and their behaviours.
It was so validating to read this book and recognise that it doesn’t just happen to me and that this is a centuries old tactic of the damsel in distress. And that damsel is white as Black and Brown women have never been deemed woman enough to protect. And all this shit is wearing thin with Black and Brown women. Believe.
This book was an extension of an article Ruby Hamad wrote back in 2018 for The Guardian. You can read it there and just know that one Black woman, Lisa Benson, who was working as a journalist at the time got fired for simply sharing this article because it was deemed ‘an attack on white women’. White tears in action right there!
My word of the year is LUSH. And I’ve shared about my reasoning around choosing LUSH, here. On a basic level, I just love saying the word. By the end of the year, I know those around me are going to be sick of hearing the word, LUSH. But I know I’m not going to stop saying/ using/ projecting LUSH.
LUSH needs support moving forward. LUSH needs to spread throughout my life and practice. LUSH is my mantra and I want to direct this energy into bringing about change in my life. Going with the flow at the same time as maybe directing the flow. For me it is all about energy, and for the last couple of years, my energy has been warped, abused, stagnant and awry. So 2025 is me taking it back.
LUSH is a start. And to support this feeling, I have three other words that are coming into the mix, which are coming to my aid and will be used as my guiding forces, this year and beyond, along with LUSH.
So what are these words I hear you ask?
DREAM CONJURE FUGITIVITY
For me these supporting words feed into LUSH as well as each other. They all I feel have a sense of magic and possibility about them.
TO DREAM. I think I do this daily through my visual journaling practice. Everything that comes to fruition in my life, things that I make happen for me and others, starts on the page, starts within my visual journalling. This year, I’m adding some more energy, potent energy into those pages as I intend to dream big, dream bold, dream beautiful.
TO CONJURE. This is where the magic lies. I love the word conjure. It has come to take on more meaning over the last couple of years as I’ve explored it in relation to Black Feminism, Black women and another way of knowing. Another way of being in this world which draws upon our ancestors, Mother Nature and our innate wisdom. I want to conjure with intention this year and be open to what appears, what happens. I want to step into my power as a CONJUR WOMAN ( See Romare Bearden) and appreciate all the layers.
FUGITIVITY. I have Dal Kular to thank for bringing this word into my life as well as supporting and inspiring me in the use of it too. Fugitivity is state of being and movement. It’s a way of moving through this world where you are your own authority and guide. You refuse that which has been refused. It’s a divestment from white supremacy culture, the structures and systems which state that I will never be good enough, white enough, human enough. Another life, another way of being is possible. And I’m exploring the possibilities.
I’m mighty happy with the supporting words this year I have with LUSH, because already sharing them here and thinking/ feeling on them, in the process they are already bringing about change, SLOWNESS as well as JOY.
Have you decide on your word of the year yet? Are you going to support that word with some other words? Let me know in the comments, I’m interested.
How do you know when it’s time to unplug? What do you do to make it happen?
When I start avoiding people. Start avoiding those conversations, connections with other people. Not being able to muster the energy to just look someone in the eye, I know it is time to unplug, unwind and retreat.
When my mind becomes a jumbled mess of to-dos, guilt-tripping myself galore with feelings of not being good enough. Then I know it is time to unplug, unwind and retreat.
When I no longer receive pleasure from the things I love to do, like writing, creating, eating. {BEING}. I know then, time to step away from the tasks, the commitments, the noise, the violence and the ruin and hide.
Stop. Breathe. Lick wounds. Apply water inside and out. And come back to centre. My centre. Me, being just me.
No actions or words in attempt to prove myself. No singing and dancing routine to grab your attention. Nothing wise or in service here.
Just someone unplugging from the system unsure whether or not she wants to plug back in on someone else’s terms.
“He knew exactly what she meant: to get to a place where you could love anything you chose — not to need permission for desire — well now, that was freedom.”
Do lazy days make you feel rested or unproductive?
This morning’s gratitude
It’s been a bit hit and miss here over the last few weeks as I’ve been busy, walking and resting.
There are no lazy days. Saying a person is having a lazy day is such a imperialist, capitalist, white supremacy patriarchy judgement.
Our value does not come from how busy we are, how productive we are or how hard we hustle.
I’m done with that mentality and practice and conditioning.
I’m been resting up after my 96 miles hike for the lowlands to the highlands of Scotland and have felt no guilt or made any excuses for it. I’m luxuriated in the inactivity.
Rest is a weapon as I’ve said before. Rest is pushing back against a system which was set up not for my survival but destruction.
Rest is a Revolution. So while I write my morning pages from bed, cradling a hot coffee and a sugared ring donut, I creatively plot my next move in chipping away for the dismantling of the system.
This includes another coffee and another page of dreaming. I’m not lazing, I’m not having a lazy day, I’m creating friction, rebellion, freedom.
Living Wild Studios 