Articles

London Author, Farah Dualeh, Publishes New Book on Faith & Infertility

By Erin-Leigh Hoffman, Writing Intern

When author Farah Dualeh began writing her book, Taking Control: A Muslim Woman’s Guide to Infertility, she realized that there is a plethora of resources available to women who are struggling to conceive or are dealing with infertility. Many resources were faith-based, but the representation of resources on infertility available to Muslim women struggling to concieve was practically non-existent.

“I feel like as a Muslim woman, I felt like I could only tap into what was existing, only had like, part of it, only part of it made sense to me and my lifestyle and my values. And then, and then it felt really lonely,” Dualeh recounts.

Since she felt that what she could get out of these resources was limited, she decided to make a change to this underrepresentation of Muslim women in these resources. The idea to write a book came to her within the first year of her and her husband trying to conceive which was unsuccessful. 

Dualeh reflects on this inspiration to write the book saying, “I said regardless of where this is headed, I want to write a book one day. I want to create something tailored for the Muslim woman.”

Fast forward two years since she began writing her book in 2020, Dualeh is now celebrating the publication of her new book, Taking Control: A Muslim Woman’s Guide to Surviving Infertility. Now that the book has been released, she’s been able to reflect on the process of writing this book and appreciate the feedback from readers.

For the process of writing her book, she had moments of surprise that ultimately she feels really grateful for. Her initial plan was to self-publish the book on Amazon until she got into contact with an editor who recommended she seek a publishing house instead. 

“I did a quick Google search, and I found six publishing houses that I thought would be suitable for this kind of work,” Dualeh explains. She sent the book to a mix of both Islamic publishers and non-religious as well. “After those six, three wanted the book.”

For Dualeh, the fact that three publishing houses wanted to publish a book about a Muslim woman’s struggle with infertility was an incredible achievement. “It was like – they get the importance of this message, so it’s been amazing” Dualeh reflects.

Now that the book is out for readers to enjoy, Dualeh has already received very positive feedback from people. One Goodreads review says, “Reading this book has put a huge smile on my face as I know how many Muslim women worldwide will benefit from this message. A thoughtful, well written, introspective piece of art.” 

Dualeh also had someone reach out to her directly to  express that reading the book was almost like a conversation, which was Dualeh’s goal whilst writing the book. Others have expressed that this book is suitable for a variety of readers, with activities and advice that can be taken anywhere.

When it comes to the message she hopes readers take away from the book, she hopes readers realize “You can have a great marriage. You can have a beautiful life whilst struggling to conceive and you don’t have to pause everything until you have that baby, and that baby’s not guaranteed. So we really need to know that this whole thing is enough, and we really need to internalize that and really believe that to our core.”

For Dualeh, You Press has been a major asset in helping her get to where she is now. She began working with You Press in 2012 during her post-graduate studies. She’s been able to attend and host workshops that provided her with the knowledge and resources that eventually helped her in the process of creating her book. Now that Dualeh has published her book, You Press has been able to offer help in promoting her story, including providing a space with the Good Hotel for her books launch party that was on Saturday 25 June.

“They’ve helped on such practical levels, as you can see, and they’re always one phone call away as well,” Dualeh says about her relationship with You Press.
If you are interested in reading Taking Control: A Muslim Woman’s Guide to Infertility, you can purchase a copy on Amazon, and WHSmith. Photo credit: Farah Dualeh

Elvis: Devil in Disguise?

By: Brendan Manning

On Friday, June 24, Baz Luhrmann’s latest film, Elvis, hits cinemas. The blockbuster feature of the summer starring Austin Butler as the title character, and Tom Hanks as his manager, follows the 1950s American icon on his journey to fame. 

From the trailer we see a child version of Elvis Presley observing gospel music in a church predominately attended by people of colour. Presley was not known for writing his own music, and many of his songs were written, or originally performed, by people of colour. This brings about the question of cultural appropriation. 

Cultural appropriation is defined as the adoption of elements from a culture or identity by members of another culture or identity, which is usually done inappropriately and without acknowledgment of the original culture. 

Presley grew up in a racially mixed neighbourhood in Memphis, Tennessee, which exposed him to a variety of musical styles that would go on to influence his sound throughout his career. Presley seamlessly, and possibly even subconsciously, blended gospel with blues and country and as a result became a cultural icon like no other. 

When asked in an interview with JET Magazine, an African-American owned journal, whether he invented rock ‘n’ roll, Presley said, “Rock ‘n’ roll was here a long time before I came along. Nobody can sing that kind of music like colored people.” 

Perhaps incorporating their music into his discography was his attempt at blending black culture into the fabric of America. 

One of the most notable moments in Presley’s catalogue include, “In The Ghetto”, a song about a child in poverty, who, unable to overcome the cycle of crime and violence, will inevitably die. While this song does not address race, it was his first recorded song to carry a socially conscious message. Similarly, the song “If I Can Dream,” also raises awareness of racial injustice as it is said to be about the loss of Dr. Martin Luther King Jr. The song’s lyrics parallel King’s famous “I Have a Dream” speech, “If I can dream of a better land, where all my brothers walk hand in hand…” 

It will be interesting to see whether the film touches on the creation of these songs and the social issues he presents with them.

The 2022 film trailer goes on to feature a scene between Butler’s Elvis and Hanks’ Colonel Parker. When they learn of the assassination of Senator Kennedy and Dr. Martin Luther King Jr., Parker states, “Tragedy, but it has nothing to do with us,” to which Presley responds, “It has everything to do with us.” 

This version of Presley could be seen by some as an Anti-Racist White Savior, a term used to describe a cinematic trope in which a white character rescues non-white (often less prominent) characters from unfortunate circumstances. This can be problematic as the plot is usually only centred on the actions of a white person and ignores the experience of those who they claim to be helping. 

Was Presley appropriating music that didn’t belong to him? Honestly, I don’t know. The answer lies in the intent. Music is meant to bring people together, and Elvis certainly did that. It is my hope that this new film reintroduces an aspect of his narrative that is so often overlooked or forgotten about, while continuing to unite people through music without glamourising or forgetting to pay credit where it is due. 

Hear Her Roar: A Review of & Juliet

By: Brendan Manning

This past week I had the pleasure of viewing & Juliet, a musical in the West End featuring the music of Max Martin (the Swedish pop songwriter / producer behind some of the greatest 90s and 2000s songs). The story takes on a “what if” scenario and follows Juliet in a modern-feminist coming of age story where she realizes she doesn’t need Romeo to make her happy. 

Following Romeo’s death, Juliet puts the dagger down and escapes her parents’ wish to send her to a nunnery by running away to Paris with Nurse and a few of her other friends. The costumes and set pieces combined a 90s / early 2000s aesthetic with the Elizabethan era roots of Shakespeare’s original play. It made me realise how much I would have enjoyed reading Romeo & Juliet in school, if only my teacher had played Britney Spears as the accompanying soundtrack.

It was refreshing to hear throwback songs such as “Baby One More Time” by Spears and the Backstreet Boys hit “I Want it That Way” in a theatrical setting incorporated into the plotlines. The production and performance styles of each number differed from the ways that these songs were originally performed. On multiple occasions it took me a while to remember the title of certain songs because they were so disguised, including a mashup of Katy Perry’s “Teenage Dream” and Ariana Grande’s “Break Free.” 

Notably, the show starred Miriam-Teak Lee, an award-winning actress as Juliet. There was something powerful in watching a woman of colour take centre stage to reimagine a rather old-fashioned story with songs originally performed by white artists such as Perry and Spears. In an effort to expand diversity and inclusion in a traditionally white setting, I appreciated how her race was never brought into question; she was just a strong and powerful woman looking for her place in the world. 

The show also starred Alex Thomas Smith as Juliet’s non-binary best friend, May. As a subplot, the audience is dazzled by a queer romance between May and Francois, a closeted French man. Their duet of Katy Perry’s “I Kissed A Girl,” with politically conscious pronouns, was one of my favourites. To take on so many social issues in an all-inclusive way is a difficult task for any musical, but & Juliet makes it look easy. 

The main highlight for me was “Since U Been Gone,” originally performed by Kelly Clarkson, which came right after the intermission break where Juliet, with backup from her girls, stood up and put the leading man in his place. I grew up listening to many of these songs but I had almost forgotten how good they were until viewing them in this production. 

Earlier this month, a special sing-along performance was hosted at the Shaftesbury Theatre where members of the audience were encouraged to follow-along with the lyrics projected onto screens placed around the room. It’s a shame not every performance could be like this, as I had a hard time keeping my mouth closed for the duration of the show. Max Martin is a musical genius who has assisted the likes of Taylor Swift and The Weekend for some of their most catchy and radio-friendly pop songs.​​ To see his music come to life on the stage was just a reminder of how important music is to our everyday lives, and how it can help us to relate to the world and get through hard times.
& Juliet is currently booking until 2023. Tickets are available here.

Merium Bhuiyan of CakeFace Makeup on Self-Expression and Community

By Erin-Leigh Hoffman, You Press Intern

Here at You Press, we specialise in helping people find their voice in their creative field and give them the opportunity to be heard. We offer resources to achieve this mission to a variety of people from different backgrounds. We offer the space for people to express themselves through creative arts in any way that they can imagine.

CakeFace Makeup, a makeup service owned by makeup artist, teacher and You Press partner, Merium Bhuiyan, is an example of what creative self-expression and entrepreneurship can look like.

Bhuiyan created CakeFace Makeup back in 2012 when she began to do makeup on a diverse range of clientele looking to use her services. She has experience doing makeup for special events like weddings and has also done makeup for TV, stage, and film. She also hosts makeup workshops available for anyone to attend. 

“It’s quite inclusive which is really fun and just a great way to bring people together to help them look and feel their very best,” Bhuiyan says about her services with CakeFace. 

As part of these makeup workshops, Bhuiyan created Club CakeFace which is a space where women can come together to learn about makeup and feel safe in an environment that is accepting of who they are. Its also a space that Bhuiyan has created for young Muslim women to feel comfortable either covering up or letting their hair down. For Bhuiyan, this is very important as it has the element of representation.

 “I get a lot of women who come to me and they feel happy to see somebody that looks like them in this kind of position so that is a major part of it for me” Bhuiyan reflects. “It’s really important to empower yourself and those around you.”

Bhuiyan feels that CakeFace is a unique creation not just because of the environment it has created, but because the idea of CakeFace takes a more holistic approach to beauty that goes beyond just the makeup itself. 

“My business is not about solely making money. It’s about helping people. So it’s more of a social enterprise I would say. It sounds funny, because it’s makeup, but through makeup, I’ve had some really powerful conversations, and people have told me about how you know, makeup has changed their lives and made it better,” Bhuiyan explains. “It’s kind of all encompassing, and it’s a welcoming space.”  

Since the creation of CakeFace Makeup in 2012, Bhuiyan has seen much success in her brand. In 2017, the next big part of CakeFace Makeup began with Club CakeFace that came from a small idea into a viral hit with coverage from the BBC. This coverage of Bhuiyan and her brand stemmed from Bhuiyan’s activism by speaking to young people about terrorism in light of the Finsbury Park Mosque terrorist attack as Vice Chair of the Islington Faith Forum last November which attracted the attention of journalists from the BBC. 

“I kind of said to the journalist, I’m a bit bored talking about it in terms of whenever Muslims are mentioned in the media, it’s usually in a negative light or about us being victims. And I said, if you don’t mind, can we talk about more positive things that Muslims are doing because it far outweighs the bad? And then I told her about the Club CakeFace and it kind of took off from there,” Bhuiyan recounts.

After that point, the coverage helped CakeFace Makeup and Club CakeFace take off even further. People from around the world were reaching out to her with messages of support and some offering to help get tickets for women who could not afford to attend.

“It was just incredible. I’m really riding the high from that one, and hoping that it can continue to grow,” Bhuiyan says.

Throughout Bhuiyan’s journey with CakeFace Makeup and Club CakeFace, You Press has been there to support Bhuiyan and her brand’s mission of inclusivity and self-acceptance. 

“You Press linked me up with several organisations, and I’ve travelled the world with them, so that’s definitely been huge,” Bhuiyan explains. “It just feels so beneficial not only to the young people, but also to myself as a trainer and facilitator, so I can only say good things about You, Press and recommend them to everyone I know,” Bhuiyan says 

CakeFace Makeup is offering services for a variety of occasions with rates available on the website. You can find CakeFace Makeup on social media via the CakeFace Makeup website or get into contact with Merium Bhuiyan via email at info@cakeface-makeup.com

No Place Like Home: An Album Review of Harry’s House

By: Brendan Manning

If it weren’t already obvious from the excessive number of posters at every tube station, Harry Styles released a new album. While the album has already achieved number one on the billboard charts and carries plenty of radio-friendly singles, the album as a whole is more substantial than the pop music it is perceived to be.

The album, titled Harry’s House, conveys the feeling of home—wherever that might be. It creates a safe space to be vulnerable. While the highly anticipated tracks, “Music for a Sushi Restaurant” and “Grapejuice,” don’t disappoint, the album is a gold mine full of deep cuts. Below I will describe my personal favourites from the album.

Keep Driving:

This song, the album’s unspoken hero, initially paints a comfortable and lovely picture, only to destroy it with fears lurking beneath the surface. The bridge is the sound of anxiety kicking in at the end of a perfect day filled with maple syrup and yellow sunglasses. It’s the everything’s wrong type-beat that causes a spiral of worst case scenarios, that sometimes feels the same as FOMO (fear of missing out): “Riot America, Science and edibles, Life hacks going viral in the bathroom, Cocaine… bad move, Just act normal…” He responds to all of these fears with a question: “Should we just keep driving,” and lets the listener decide the answer while reaching the end of a crossroad. “We held darkness in withheld clouds.” That’s art. 

Little Freak:

 “Stay green a little while.” If looking for a track to play while crying in the bathtub, it’s this one. It isn’t just his style that gets attention for breaking gender norms, it’s his delicate point of view that seeps through the cracks on songs like these that redefine what it means to be a man in pop music. Ironically, the lyrics of this song find Styles blaming himself for not being vulnerable enough in the said relationship. 

As It Was:

The number one single is a song with many interpretations. Some believe it to be about his relationship with fame, his sister, his father, or old bandmates from One Direction. The same sentiment was applied to Styles’ debut single, “Sign of the Times,” and it makes for a powerful first single if it can be attributed to so many different ideas. While he may never share the true meaning, Styles doesn’t like to deny rumours either. In an interview about his first album, he said, “People are always gonna speculate what songs are about, and I don’t think I’d ever want to tell someone that they’re wrong for feeling what they feel about a song even when they’re not necessarily right.” 

The beauty lies in its ambiguity.

Matilda:

This song sounds as if it were compiled from everyone’s confessional DMs on Instagram. He tells the story of Roald Dahl’s Matilda after she grows up, and he reminds listeners not to worry about disapproval from one’s family. It might be worth noting that while Matilda, Dahl’s famous character, is female, Styles does not assign a gender to the person he serenades. 

Boyfriends:

Styles is known to have rejected sexuality labels; and while many listeners think this song draws inspiration from the experience of friends, others believe it to be about a previous relationship with his fellow bandmate, Louis Tomlinson. Regardless, it takes a strong melody and powerful lyrics to carry an acoustic song with minimal production. This is effortlessly achieved with lyrics like, “You lay with him as you stay in the daydream.” 

Love Of My Life: 

The mysterious and ominous F# notes of the chorus make listeners wonder why he would choose to close out the album with this one. For me it was the most memorable track. And what’s better, he said that it was inspired by England. After leaving home at sixteen to join One Direction, it’s no wonder he sings lyrics like, “It’s not what I wanted, to leave you behind, don’t know where you’ll land when you fly…” In an interview with Zane Lowe, Styles said: “To me, ‘Love Of My Life’ was definitely the most terrifying song for a long time because it’s so bare.” The stripped piano outro represents ascension onto another level as Styles sheds the popstar persona and moves on to something greater, while reminding us that there is no place like home

An Outsider’s Perspective on You Press

By: Brendan Manning

My understanding of You Press is that they are a groundbreaking enterprise in London focused on empowering voices of underrepresented and marginalized communities. This is done in a number of ways through music, graphic design, photography, and creative writing. 

I was initially very impressed by their ability to balance the arts with activism, something that is not always easy for companies to do. I’ve since learned the key to be in the cause; rather than art for art’s sake, the people of You Press make art with a purpose. 

For instance, The Collective, a Conscious Music Programme, really struck my attention as it is a unique opportunity for aspiring musicians to find their voice and learn about making, producing, and performing conscious music invoking social issues. This is especially pertinent for young people who face barriers in a world of political turmoil, such as racism, classism, social exclusion, underfunding of the arts, and other acts of inequality. All these factors impact underrepresented / marginalized people and their access to the arts industries, and therefore their ability to effect positive social change. Art has the power to influence people’s feelings, beliefs and understandings which can lead to positive social change and reforms. Music is a priceless gift and empowering someone to use their voice is not to be taken lightly. With this programme, participants will also gain confidence from working in such a supportive and caring environment. You Press is paving the way for a better tomorrow. 

Another impression I have is that You Press is still growing. It is great to see so many of their programmes and ideas take off and make an impact on society, but I know there is still so much more they can do to make a difference. Being involved with so many organizations and projects is sure to lead to a successful future. Every city needs a You Press! 

As a part of my study abroad programme, I was given an internship with a company in a field that is of interest to me. I filled out a survey with my experience, skills, and what I hope to achieve from this summer internship. I am grateful to have been placed with You Press where I get to regularly write articles, as well as work with such a grounded and impactful company and assist with their community service elements. I have always been passionate about social diversity and inclusion, something that I have a lot of experience with in America. It is such a relief to know that the people at You Press share similar passions. 
I have not been nearly as acclimated as I would have liked to by this point, due to unforeseen circumstances, but I can confidently say that the best part of You Press is the people. Not only has every employee been extremely welcoming and friendly, they have been so accommodating and patient during these strange times. I am sad that my programme will not last longer, but I am grateful to work with so many inspiring people.

Spider-Man and the Issues of Masculinity

By Brendan Manning

After two weeks in London, I’ve been thinking about the toxic masculinity prevalent in America. This refers to a representation of manhood utilising aggression, the suppression of emotions, and even the use of violence to assert power. Men who are physically strong often use this to further their male privilege. If this sounds unfamiliar then just look at American football (not to be confused with soccer). The players are big, aggressive and idolised for their often brutish actions, on the field and off.

Why does toxic masculinity exist? Because society allows it to. In America, football players are like gods. We love watching violent sports, especially those that include a toxic display of masculinity. Being on top of the social status pole, these men get to make the rules. Nobody is above them to put them in check. Many college athletes as well as famous football and basketball players use their male privilege to get away with all kinds of things, including sexual assault

From childhood, these concepts are forced on us from the shows we watch to the toys we play with. Superheroes like Batman, Superman, and the Hulk are all examples of how masculine behaviours are negatively perpetuated. At a young age we are conditioned to value physical strength over all else, and we learn that the more “manly” you are the more respect you receive. 

My favourite superhero was Spider-Man. I now believe this was because he lives a double life. As a nerdy teenager, I identified with him. Without his red suit, he is perceived as weak and this doesn’t bother him. He doesn’t feel the need to flaunt his masculinity. He wears a mask to hide his true emotions. A lot of other superheroes like Batman and Captain America wear masks that still show most of their face, therefore they cannot slip out of the tough guy act while in combat or else they would appear unmanly; they continue to promote toxic masculinity, because even while struggling they must always be “on.” The red Spider-Man suit is a facade, a false notion of manliness where underneath lies an awkward teenager. Shooting webs can only get you so far; it’s his brains that make him a capable superhero. 

Most modern-day so-called superheroes who perpetuate non-stop violence are aggressive, sexist, and convey their masculinity with high-powered weapons. Except for Spider-Man, these characters rarely speak to the virtue of doing good for humanity outside of physicality. 

Andrew Garfield, who previously played Spider-Man, said this of his character: “He stands for anyone that needs protection whether they’re black, gay, lesbian, bisexual, transgender. He’s not going to choose to save one over the other. What Stan Lee created is an every-man for every man, especially the underdog.” 

It’s important for children of every gender identity to have role models who will instill a strong power that does not operate in hate or any kind of discrimination. Spider-Man is a non-toxic masculine hero who speaks volumes to future generations, reminding us that not all heroes wear capes.

And speaking of capes, what every Spider-Man movie has failed to highlight is how a teenage boy had been able to sew his own costume. While this type of labour is typically seen as more feminine, it is a strength in itself equally as challenging as shooting webs. But I guess sewing would make him appear too unmanly, at least in America. 

An American Perspective on the Platinum Jubilee: A Reflection

By Erin-Leigh Hoffman, Intern at You Press

The reign of Queen Elizabeth II has hit a historic milestone with 70 years on the throne. The 96-year-old has become the longest serving English monarch in all of history, and the Queen’s Platinum Jubilee served as a several-day celebration of the life and reign of the Queen over the last several decades.

The Platinum Jubilee began Thursday 2 June with the Trooping the Colour parade where Queen Elizabeth made her first appearance alongside her family at Buckingham palace, and ended on Sunday 5 June where she made her second appearance at the end of the Platinum Jubilee Pageant. The members of the royal family also attended many of the events during the festivities.

As an American in the midst of the pageantry For Queen and Country, it was a new experience witnessing a celebration like the Jubilee for someone like myself and my peers here with me who grew up in the States coming to London during this time. Depending on the person, some may find it hard to understand the significance of the Jubilee, or others may find the Jubilee fascinating given that the United States has nothing like the Queen or monarchy and it is a historic cultural event to be in the middle of.

Even though attitudes about the Jubilee vary from the experience of being an American, these ideas are worth exploring to understand the perspective of an American in London during this time.

Growing up in the United States my whole life, I learned about the relationship between the States and England specifically from the American Revolutionary War which saw the United States break away from Britain and become a sovereign nation. We were exposed to educational resources like textbooks that would paint the relationship between the nations as very hostile, especially because of King George III which represented oppression to the colonies in the new world before they became America.

This resentment aimed at monarchy that was taught to us in our schools laid the foundation for how many in the States were socialised to view the English monarchy. As per my experience as a high school graduate and upperclassmen college student, these ideas were rarely challenged unless a student was enrolled in an upper-level class on politics at a high school or university.

It is understandable how this sort of education may lead to people being disinterested in what is going on with the English monarchy at any given time, especially when there is a major celebration centred at the main figure head of the monarchy right now, Queen Elizabeth II.

On the flipside of this, there may be a lot of curiosity about this event as the States have no such leader that has been a symbol of the country serving for 70 years, and this is an event being covered in the States in the media daily as is in the United Kingdom. The leader of the United States, the President, is elected or re-elected every four years with a total of eight years in power possible. Much of the decision-making in the States comes from the legislative houses that draft and vote on bills presented to them that the President can sign into law or veto. Since he or she is the leader of the land, and is frequently replaced and divisive based on party lines, the President isn’t a figure like Queen Elizabeth as a main-stay of the country that is designed to unify rather than divide like the role of the United States President typically does.

Since the States do not have a figure like the Queen, she and the royal family as a whole are a fascinating phenomenon that gets attention from the U.S media whenever there is news from the royal family. This is why the Jubilee in the States received so much airtime since people are interested and would like to know more about it, given that this is another major milestone in the reign of the British monarch.

As an American in London during this Jubilee, I’ve seen the difference between opinions of the Jubilee from my American counterparts, and from those who live in the United Kingdom and feel a certain way towards the Jubilee. My American peers were interested in seeing the celebrations of the Jubilee citing the fact that this is a once-in-a-lifetime event to live through in the epicentre of where it is happening. Some of my other American peers were more disinterested, and left central London for elsewhere to enjoy the bank holiday.

Now that the Jubilee has come to a close, it is a time to reflect on the last few days in a deeper way to examine the difference in interest in the Jubilee from the perspective of an American in London during this historical time.

An American’s London

By Brendan Manning

As an American I love the Obamas, Breakfast at Tiffany’s, and country western boots. Before arriving in London last week by myself from America, I had never even left the country. 

I couldn’t wait to spend six weeks living in London, taking classes and becoming enmeshed in this cosmopolitan city. I’ve always loved high tea, grey skies, and Harry Styles so I thought I’d fit right in. 

My experience in London has been nothing short of smashing. The most surprising part of my experience so far has been getting to share it with my fellow American classmates.

None of us knew each other before we came here; most of us are the only ones from our universities attending the program. In the states, we probably would not be friends, but given the circumstances everything is hunky-dory. 

We are all so different, yet we work so well together. All of our personalities and interests should have clashed but instead we became a team. 

This is only fitting as London is a multicultural city. One third of the population was born abroad, and over 200 languages are spoken here. Like most immigrant populations within the city, my American classmates and I were all thrown together and forced to cooperate—creating our own community and bonding by virtue of being outsiders. 

On our first days, we could not have stood out more even if we tried, especially those of us from New York who talk very loudly. Boisterous was the defining word when we all clamoured onto the Tube wearing fanny packs. I can understand why nobody would want to talk to us. 

We’re still getting used to entering clubs without needing to show ID, looking the opposite way before crossing a street, and seeing every channel on the television report on the Queen (as opposed to the Johnny Depp vs Amber Heard trial, which is the only thing currently holding our attention in the United States, besides near weekly reports on gun violence and mass shootings). 

One week in, I have mastered the art of underground transportation and dressing like other Londoners. In my mind, I’m fitting in, but everyone still avoids making eye contact with me on the train. It’s not that I expect others to invite me to their barbecues, but for a big city, London can feel very lonely. Maybe that’s why we cling more to those who share our common background.

Like any great city that is always changing, the people change with it. We, my group of American classmates, are evolving too. While some members of my program have done nothing but drink since we arrived Thursday afternoon, the rest of us have seen and done so much already. We’re adjusting to living in this new land. I couldn’t be more excited to spend this summer in London, and the best part is they don’t have guns!

Autism Awareness Week Interview by Lauren McLane with Ash Jeffrey-Taylor

This year, March 28 to April 3 is World Autism Acceptance Week, which highlights and promotes topics around autism awareness. Ash Jeffrey-Taylor is a creative artist and activist who raises awareness about autism through her own stories. Recently, I had the opportunity to speak with Ash over the phone about her artwork, creative expression, and why she’s advocating for women and girls this Autism Awareness Week.

Currently, Ash creates commissions, comics, and drawings that often reflect her life experiences and identities. I asked Ash about when she began this journey as a creative. Please note, some of the transcripts have been edited for accuracy and precision.

A: To start off, I’ve been drawing since I was very, very young. And I didn’t take it seriously until my teens, once I hit secondary school.

L: Nice. Why do you think you started to take it a little more seriously or consider it as a career?

A: Well, at first, it felt like a hobby to me, and once I hit my late teens in college, I thought, “I think this should be my calling”. So I’ve been improving, experimenting with different art styles, and hand-picking which style I like the best to adapt as my own.

L: No totally, and it totally comes through in your work. I notice that you draw a lot of people which is cool, and a lot of your own identities… 

A: Yup.

L: What do you think art does for you – I know that for me it can be relaxing or a way to express myself – do you feel like that’s the same?

A: Yeah, it’s mostly to express my true self when I can’t talk properly (laughs).

L: Yeah, that’s cool. I also noticed [you draw] either personas or a lot of families, and I know you’re a black artist –

A: Yeah!

L: – with autism, and I was wondering: how do you think that’s shown in the work you like to make? How does your identity come into it, you think?

A: Well, it’s very useful to express my true self when I want to be honest with myself, or want to brighten up people’s day with what I’ve been through. Or, share my uncomfortable experiences and what’s happened to me in the most humorous way possible.

L: Definitely. Do you find that people relate to the things you put out?

A: Maybe a handful, yeah.

Ash chuckles modestly. I think it’s really cool that a lot of her artwork is about self-expression, and because some of her art outlines her own experiences, I can’t help but think that others, perhaps women with similar experiences, might relate to it, too. Boys are four times more likely than girls to be diagnosed with autism, and Ash brings this to attention in her discussion and artwork. She spoke about her own experiences being diagnosed with autism relatively early – but still not until young adulthood – and how certain factors like gender may play a part.

L: I noticed on your Instagram that you mentioned you like to advocate for autism in women and girls specifically, and I was wondering where this comes from. Why is this an issue you’re passionate about?

A: Well, growing up, I had no idea that I’m autistic, since… I was diagnosed at a young age, which I’m grateful for. But I didn’t know that I’m actually austic until I was eighteen years old.

L: Oh wow. 

A: Yeah, it’s kinda … in other words, I was kinda clueless about what made me different until I hit the later age. 

L: Do you think it’s harder for women and girls in general to be diagnosed than boys?

A: Yeah, I think it’s just a little unfair, because people assume autistic girls are just attention seekers or attention deficit or dyslexic or whatever, but I feel like some parents with autistic girls don’t find the right professionals who are respectful and smart enough to do a proper diagnosis instead of just misdiagnosing them as something else.

L: What do you think some things that could be done to improve that are?

A: I say more research for children of mixed genders – not just little boys but mixed up with the girls as well, so they could pin down the main traits and specific discomforts autistic children are experiencing, so they won’t delay the diagnosis for all the older women, who may get diagnosed later in life.”

We discussed Autism Awareness Week coming up, and how Ash is bringing these issues to light for the week. She noted, “I think it’s just sharing my life experiences on the spectrum, or things that happened to me, or things that’s been said about girls on the spectrum – either positive or extremely messed up. So I have quite a few ideas. I’ve wanted to make my original story off it, and so far I’m in the middle of developing one story that I’d like to create someday.”

Her artwork, which is a combination of both hand-drawn and digital art, does just this. Ash is currently freelancing, which includes illustrating greeting cards, posting online, and creating commissions, from which she’s saving to start her own business. I asked if generally, there’s anything she wished more people understood about creatives, and particularly those with autism.

A: Well, what I want personally is people who don’t just view autistic people as someone who is either immature in specific areas, or just like blunt or plain rude. We just see the world differently – some are expressive and loud, while others are just reserved and quiet. I’m kinda in the middle, depending on my mood. All I want for people is just… to get a basic understanding, not just for children on the spectrum, but adults on the spectrum, because it’s a lifelong condition – it’s not a condition that just disappears after childhood.”

L: You mentioned being able to see the world kind of in a different way or differently… Do you think the perspective that you have has kind of allowed you to be more creative or to be pursuing art in the way you want to?

A: Yeah, I do. I just find all kinds of creative arts really satisfying, whether it’s tailored to children of all ages or adults who just want a good escape.

We spoke about all the adults that escape and take refuge in the Tate Britain art gallery, where Ash currently volunteers and works as a visitor host. In terms of moving forward with her art, she notes that “that’s a good way to increase my art knowledge and passion there.” 

The pandemic delivered a massive blow to museums and galleries, but Ash says that they’re somewhat bounding back, and is optimistic for the future. She told me how “It’s nice to see people from all different walks of life – even those who are not from the UK. It’s nice to see visitors from other countries who just come to see a large but quiet gallery – just to see a specific artist or an artwork.

L: Do people really come from other countries just to see some of the work?

A: Yeah, honestly – some from the East Asian regions, some from France, parts of Europe, even America, so yeah!

I asked if there’s anything else she wanted to talk about, either with regards to the arts or autism awareness in general. She’s in the process of creating “a small comic for autism awareness/acceptance week that I’m planning to upload on Instagram soon.” It has to do with how most people react when Ash mentions her autism, which she says is often along the lines of “‘You’re autistic? But you don’t look it!’ That’s kinda harsh”, she says. “The thing is, I look like an average person, but I’m actually autistic. And I’ve learned why I look like an average person – it’s because of all the masking I’ve been doing! It all makes sense. That explains why I stress myself to the point of fitting in. It’s kind of exhausting.

L: Yeah, that sounds tiring! And I don’t think I’ve actually heard that term before – if you don’t mind me asking, what is masking?

A: You know when someone puts on a happy face to hide the fact that they’re depressed or in pain?

L: Ah, okay.

A: It’s basically that.

L: And you feel like you do that a lot of the time? 

A: I do. I do. I didn’t know I’ve been actually doing it until someone explained it to me about a year ago, and I thought, ‘No way, that’s what I’ve been doing all this time?’

L: That sounds exhausting, really tiring. That’s intense! Do you feel like art is a way to deal with that a bit?

A: I feel like some artists had to go around masking their true feelings, or until they make a drawing out of it – whether it’s something that happened to them recently or something just to please their commissioners.

Ash told me it’s “nice to draw by hand”, and I understand how doing so can be both a means of self-expression and self-care at the same time. When it comes to the functions of art, issues around autism awareness and identity, and self-expression, Ash is deeply reflective, and clearly the person in-the-know. I learned much more about ways to address autism awareness issues in talking with Ash, and I look forward to continuing to learn more through her future artwork and projects.

You can find Ash’s work on Instagram Ash (@artistrybyakmd), her website, https://ashjeftay91.wixsite.com/akmdportfolio, and her Youtube channel at Artistry by AKMD.

By Lauren McLane