Bido Lito! Magazine | Issue 116 | August 2021

THE FINAL
SAY
Liverpool City Region Music Board recently
produced their Black Lives Matter Manifesto,
a document with specific objectives to enact
impactful changes to increase diversity and
inclusion in the city’s music sector. In last
month’s Bido Lito!, artist iamkyami spoke of
her own experiences as a woman of colour and
the expectations and lack of opportunity which
came with that in this city. At a time when racism
has again hit the headlines, LCR Music Board’s
BLM subgroup chair Jennifer John sets out the
importance of the manifesto and the changes which
need to be made.
Everyone had a reaction to what happened in
America last year. We saw lots of positive
reactions, globally, to the horrific murder of
George Floyd. People were marching, calling for
zero tolerance and saying enough is enough. However,
the outrageous behaviour which happened as a result
of England’s defeat at the Euros final is a reminder that
racism hasn’t gone away. It’s still here for everyone to
see and we need to do something about it.
From the point of view of LCR Music Board, there
was never any doubt that we also needed to act for
our music sector. Since May 2020, there have been
many long conversations, which has led to the Black
Lives Matter Manifesto. But, for me, the creation of the
manifesto is just the beginning.
The manifesto sets out a set of intentions. Now the
work of the subgroup – and the partnerships that we
develop – begins and the proof will be in the pudding. It’s
in what we do next where we’ll see the changes. Within
the document there are timelines we are following to
demonstrate our commitment to effecting real change for
our music communities.
We’ve created a subgroup of 12 people that are
prominent Black professionals working within the sector.
We talk about how as a collective we need to be more
visible and show a united front to those who wish to
carve secure, respected and sustainable careers within
the music sector. We want to say to all people with
Black and brown skin that, actually, there is room for you
within this industry by making ourselves visible. This
way you can see yourselves reflected back. When you
look at us, we do represent you. You have a right to be
here and to excel in your chosen path and we are here
to give support, guidance and to reassure you that you
can be, do and have anything that your ambition and
creativity desires. It’s your human right.
One thing that needs to be recognised more is
that Black people exist in all genres of music. We can’t
marginalise ourselves further by the idea that Black
music is only certain genres. This is something which
chimes with the words of iamkyami in this magazine
last month. We exist in all musical forms and let’s talk
about that. We need to be seen to be as expansive
as we actually are; how we present ourselves needs
to reflect our contribution within all genres of music.
Not the commercial music sector only, for example. It
encompasses the worlds of classical, jazz, all the obvious
genres that you would expect and so much more if we’re
going to be truly representative. For me, it’s having a
breadth of understanding that Black contribution is
everywhere.
I know from personal experience how this
marginalised representation manifests itself. People see
my choir and presume, because there are more than two
Black faces, that we’re a gospel choir. We’re not. We can
turn our voices to everything and
have done. From our collaborations
with Damon Albarn in his opera
Monkey: Journey To The West,
when we sang operatic Cantonese
repertoire, through to our
imitations of insect life as a very
rare breed in Flies alongside Phil
Minton’s desire to create a Feral
Choir at the Southbank in London,
to strutting the stage singing
backing vocals for Take That at
Anfield and everything in between.
That is actually who we are, but
the assumption is always that
we are gospel singers. It’s really important that visibility
means visibility across all genres. My choir shouldn’t only
be asked to an event only because it’s a ‘Black event’ and
it shouldn’t be presumed that iamkyami can only play on
an RnB line-up.
In the manifesto, the Board sets out objectives such
as recognising the importance of Black people and Black
music in the city’s heritage. This may take the form of
a statue. For me, that’s a no-brainer. Why, on Mathew
Street, for example, is there no representation and no
“For me, it’s having
a breadth of
understanding that
Black contribution
is everywhere”
Black faces? Why are there still places where there’s
been no acknowledgement of the contributions of Black
people? We have to go to the powers that be and ask,
‘Why not?’. As a board, we should be looking at how we
can make that happen and we will.
The Board was put together with the support of
[Liverpool Metro Mayor] Steve Rotheram and is one of
the first independent boards of its kind in the country.
It’s industry-led rather than only bureaucratically-led.
The members all work professionally within the music
industry, in lots of different roles. It’s a very grassroots
approach, which means we’re proactive and we really
care. It’s not just ticking boxes. I am confident, based
on the conversations that we’ve been having for the
last two years, that there are real intentions to make
these changes and it’s not just lip
service. The next thing we’re going
to look at is gender equality. We’ve
got a whole programme of things
that have to do with creating
parity for people and getting rid of
the idea that there are those that
don’t have and those that have.
But this is just the start.
It’s about trying to create that
level playing field and being the
innovators. Liverpool has a great
reputation for being the first at so
many things and I wish to ensure
that we follow that tradition as
the trailblazers. The ones who have the courage and
conviction to stand up and be counted as the collective
who fought for change and won. !
As told to Sam Turner.
Photography: Sane Seven
Find the LCR Music Board’s Black Lives Matter Manifesto
at lcrmusicboard.co.uk/lcr-music-boards-black-livesmatter-manifesto
54