Concept: Sunara Begum 

Chand Aftara asked 17 global creators to share their isolation remedies with us…

Who Am I? Online Artist Self Help Guide is a growing resource of materials by creatives from around the world. It is a platform for sharing unique perspectives, practices and personal paradigms with an attempt to bring about healing both from within and without.

This collection is a series of self-searching titles through the lens of creative, physical, mental, spiritual and psychic practices in the pursuit of plurality. With a focus on bringing art-forms, voices and ways of seeing the world together this guide is for anyone on the path of seeking, searching, sollitude, mind, body and being.

With love, light and kindness,



iSOLATiON (How Do You Cope?)


Dealing with the state of the world right now

I am sitting right now in my studio in my rented house on the second floor with the window filled with green trees; stark shades of dark and light with the sun shining bright. I have done the morning chores and just find time now to indulge myself..some 'me' time. I have been inspired by my many travels around the world absorbing as much art as possible; notebooks full of ideas and quotes. It is now, when the world seems to have paused and slowed down, I find time to reflect and act. All that time spent looking at Diego Riveras murals in Mexico has now inspired me to create one which alludes to the trials and tribulations of social class within India. Not being in my usual studio to mess around, I have set myself rules to just draw and colour without creating a mess. These rules have released me from the usual struggle of choice and I stick to pen and water colour drawing. It is labour intensive and takes my mind off serious issues occurring at this moment in the outside world. To distract myself, I am also learning how to mosaic with tiles and learning from a group that mosaics all around the world. So I suggest artists also slow down...look back, spend time thinking, experiencing, feeling...just give your mind the same experience that one would have when the body is being given a massage......


My name is Aduke Gomez. If a stranger were to ask what I do I would probably say I'm a lawyer. And that would be the truth. Those who know me more familiarly would argue that I'm a creative. I date my public journey as a creative to June 2017 when I published an anthology of my poems "While I'm Here, Let Me Quickly Tell You About...". This led to the book being featured at book festivals and also to several public readings. Even some performative ones accompanied by a drummer. A miracle in itself as I stammer...

In December 2018 I published a children's book - " The Adventure of Lara & Dara: Lost And Found In Lagos". This was something I had always wanted to do but I was given the push when I was asked by a filmmaker to collaborate on the novelisation of her film after she had come across a copy of the poems. This in turn has led to more readings and the delivery of a creative writing workshop for children. If you are looking to innovate, I can recommend this - nothing gets the creative energy going like spending time with children. I am telling this story as I have found that the willingness to display your vulnerability and submit your work to public inspection always, always leads to further innovation. Maybe not immediately, but it's as if once on display ideas and opportunities expand and billow. An often overlooked result of exposing your vulnerability is the realisation that you don't know everything. And so must ask questions. Most people will tell you anything if you ask nicely. You just have to design your questions as something they want to talk about.

If the replies are not what you need then seek specialised knowledge - books, classes, internet- soak it all up. I took a writing class about 18 months ago - everyone else was 30 years younger than me. Apart from someone who was just about 8 years younger. So we became friends as the oldest people on the course. This person is now my co-producer for an online theatre production of ten new plays we are working on together. A new companion on my creative journey that I never would have met had I not taken that class. And a new venture I would not have even thought to embark upon if not for the emergence and global spread of COVID-19. And now we come to the time of the great shutting down - a time of illness, fear, selfishness, above all grief for lost people and lost lifestyles. And yet, examples of hope and courage have thrived too, marked by sacrifice and hard work. A strange time marked by the lack of human touch so often a panacea in times of trouble. I wrote about this in a new poem published in an online anthology for the Corona time edited by a friend.

The problem is not now.
The problem is then.
What shall we do then?
When this is over
And finished with.
But not forgotten.
Can we still hug babies
That are not our own?
Keep a promise, a bargain
Just by shaking hands.

Imagine. The terror.
The trust needed to show

Neither wields a hidden dagger.

Be able to hug a friend
Who has lost so much
Mere words are insufficient.

And the tangibility of touch
Is required for grounding,
For renaissance.
What will we do then?

This question "What will we do then?" has perplexed me. It has rendered my mind motionless and yet simultaneously it runs around screaming in circles. I found I was unable to read, to write. Thinking itself was exhausting. This only eased after several weeks late one night when I watched a comedy online - it was as if my own shrieks of laughter punctured the malaise and allowed a new clarity to emerge. As time has passed I have come to understand that new ways of thinking, of doing, indeed of our very being have to be navigated or even invented. So if you cannot create now, don't blame yourself. It is a time of transition and evolution. It is a slow process of unwrapping and re-wrapping to re-form into new shapes. So be gentle with yourself, spend time online with those you love - physical distance should not be an obstacle here, rediscover old favourites - books, films and so on. It is important to nourish your physical body with both healthy food as well as food you like (as they may not always be the same thing). Above all provide your soul with loveliness and laughter. You will create again, if not today, then tomorrow or the day after, and it will be beautiful.


I look at the green leaves twittering with the dapple lights


My lockdown hacks


My Daily Face Yoga Practice


Work, Humanity, Craft and Purpose

With the huge array of options that creativity, as a subjective, non-linear process lays before every artist, the creative can easily be dishonest regarding the expression they display to themselves and the world. These options (or variables) invent believable constructs that truly can have nothing to do with truth. In my opinion, for truth to be present, honesty must also. For honesty to be present the artist must submit to who they actually are and what the outer affect of this can be in the world; they need to accept they are only a part of the process and in fact are more of conduit in many respects than the inventor. I believe that this distance and acceptance assures the ego cannot hijack the creative process because the artist assumes a position of autonomy rather than control and becomes part of the journey rather than being the journey and the result themselves. Essentially, this is humbling, and frees the art to finally tell the truth as it is critically detached from the controlling clutches of the artist/conduit and their natural leanings towards “make-believe”.

As intimated, art itself is in fact subjective, and to go further: it is non-linear, haphazard, unpredictable and liberated – without anchor in many, many respects.

This is one of the reasons why art and artists have such a hard time in societies where business and productivity (which need to be linear and objective to function at all) are considered the most important bases from which a given modern culture claws out its survival. The modern world had in fact chosen the power of money, business and tangible goods over expression, art and spirit around the last quarter of the 16th Century; and art has been struggling to fully unction ever since. Something was destined to “give”, as to function at all, business requires packaging and restriction by default; art on the other hand (art that tells the truth that is) requires individual expression and freedom of restraint to come alive and go on to reflect its surroundings....

1. Work

2. Humanity

3. Craft

4. Purpose

Work = need, not desire

In the music business, it is not enough to simply want to do what we do as artists, needs get us out of bad every morning; desires mean we will take too many days off as our passion ebbs and flows and we operate as artists as a reaction to this inconsistent fluctuation. To me, the 21st Century constantly reminds us that this is no time for gradualism, so being driven by (inconsistent) desire is hardly useful when need has its own self-perpetuation and when manifesting rather than developing is far more important right now. The form my work takes almost doesn’t matter – and there will be (and have been) detours along the way. The most important things to me are: the impact of the creations along with the ability for me as an artist to re-evaluate and stay flexible – even if this means a complete U-turn at times. This, I find, can only be achieved through honesty in my work.

Humanity – all for one and one for all?

Evil is not the biggest problem of man, nor greed, poverty or any of the “usuals”. In our modern world, only one thing has to be present to keep all the above wrongs and others we talk of in their mighty positions of power – this is selfishness. There can be no presence of evil without it; nor greed, nor poverty for the most part. Blaming evil gets us off the hook; we can pat ourselves on the back and say it has nothing to do with us the devil is doing his thing again! But if we look at the underlying issue of selfishness we can see how we don’t get away with our responsibilities to our fellow man quite so easily. We have undeniable control over selfishness, this comes from us and goes outward – it doesn’t “take over” us like evil or greed is often touted to do. So now, we are no longer off the hook. Artists as the supreme social commentators have a job to do in the light of all this. All of our paths – whatever we choose – will benefit humanity if we kill off our selfish ways. Besides, as creative artists, we cannot flow completely whilst this is overriding our judgements. (The "Diva Moi" syndrome….perhaps?) At the end of the day, everyone pays as a consequence of the imbalance of selfishness.

Craft and the practical application of spiritual ideas

The physicality of the expression can almost be as completely individual as the spirit behind the expression itself. Though there are evident universal attitudes under a common base language, as artists, we design our own dialects and inflections as it were. Here is where we take responsibility in making tangible, the spiritual ideas that others can go on to witness, enjoy, analyse and work with – integrating into their own lives where appropriate. (I am not sure if we choose instruments or if instruments choose us; there are definite common denominators or correlations between people groups and the instruments of expression they use though!) Culture and value systems will also have a great impact on our approach to art as craft and its importance in communal groups.

Purpose – fulfilling an innate desire to affect our environment based in the needs of the common good

My purpose must be one of a "healer" for me now. It is a view I have of an awareness to use the powers many of us have been granted, taking responsibility for our potential greatness. Personally, humanity has to be at the base of all I do as regards my deeply personal expression at least, or otherwise I am in danger of gratuitously serving myself, and successfully breaking the natural law of reciprocity that all living beings have to align to in order to survive and then prosper. This is a simple issue of healthy give and take. My album Migration Stories marries two themes that are central here: the concept of the nomadic artist whose gathering of the new as a constant, rejuvenates essential culture; and secondly, the pursuit of commonality to engage the widest audiences possible with the creativity uncovered.


These are not my words but the words and teachings of Yogi Bhajan

A practice I have adopted: Kundalim Yoga is "the science to unite the finite with Infinity and the art to experience Infinity within the finite." It is not only a flow of energy within our bodies, it is a flow of the energy of consciousness of all the masters of Kundalini Yoga from ancient times up to the present day. To practice Kundalini Yoga we first connect our energy to that flow of consciousness, which is called the "Golden Chain." We connect to the Golden Chain by reciting the Adi Mantra: OngNamo, Guroo DevNatno. Ong Namo means "I bow to the Creator of the Universe, the totality of all things that exist." Guroo Dev Namo means "I bow to the Divine Wisdom within my own consciousness."


For, With, and Between

It is very difficult for me to put this together.
This entire season has felt so surreal
Intense in a way that I have been afraid to speak about it.
And yet here we are forced to look at it,
and live it.

It almost feels like it can’t possibly be real
As we watch,
And feel what’s running through our nervous system.
Our collective wounding, fears, aggressions, patterns
All spilling out for us to look at.
It’s incomprehensible that this is the reality that we are living.
Yet, it’s so important to acknowledge that THIS is the reality.

We are equipped for this and more.

Now more than ever we need practices to help
Ground us,
Center us,
Soothe us,
Hold us accountable.
We need all the stability we can embody.
These times are intense and are intensifying.

All these practices I share
Are really self observation, excavation, preparation, and repatterning.

So in the face of all that is happening
I may remain non-reactive,
Staying with it.
Getting right within myself.

Because my role is to be a buffer
And to stand for, with, and between
All these realities
And listen
And care
And feel
And know.
Deeply know in my bones,
All of this isn’t happening by mistake.
We are moving and being moved to this space
because it is time.

I am here.


It is not empty time, it is the moment


The urban village is within

I’m in Shantiniketan, West Bengal doing my Masters in Fine Arts here but I am living outside the campus in a house with my boyfriend. Two months before lockdown happened we were both going through very dark times, already a kind of mental breakdown was taking place trying to deal with our fears, insecurities, childhood traumas, ego, negative emotions, and intense and immense love at the same time. Within that period the Corona pandemic happened and lockdown was enforced in India and much of the world. Amidst this period we both chose not to go back to our family homes in separate states of India but rather to stay together as we wanted to heal from the inside. As soon as the lockdown came into play a part of us was happy that we could got this time to heal ourselves, practice our work and give ourselves more time. Little did I know how different things would turn out. We were finding an escape system to run away to in order to stop ourselves from dealing with our insecurities and fears. We saw movies after movies, ate delicious food, followed the same time table on constant repeat. Altogether watching the news twice a day and feeling sad about the situation that was going on outside of our home was more depressing at one instance but on the other hand when I was looking at this situation from a positive point of view it seemed like something good was happening regardless of the pandemic in terms of the condition of the environment, the earth and nature. The earth was getting time to heal itself and witness people across the planet coming together to spend quality time with their families and loved ones.

During the lock down one was beginning to feel locked in and a sense of boredom was emerging and there seemed to be this need to escape from ourselves but the escape system never seems to give real happiness. Entertainment is temporary and never your own. During the peak of the pandemic emotions heightened and so too did the chaos in my world before a violent eruption. This made us both still and silent within the darkest zones of our lives and still seeking hope and peace whilst asking ourselves questions of who we are. And now a sense of peace surrounded us as we started working again. Still lost, somewhat scared too from falling again. Thank God we are in Shantiniketan, here is the green zone area and now as lockdown is almost over we can roam outside amidst the luscious green environment and feel connected again to ourselves yet still quite remote. The urban village is within.


This is my take on a photo essay. The texts are excerpts from my debut collection Small Cures.  I have paired these two photographs of two separate poems from the book that I think, speak on and to one another about creativity, truth-telling and the function of poetry.  It could also be interpreted as a comment on productivity, which I know has been a huge topic of conversation for creators during this time. 

Note: The photographs should be presented next to one another, 'darling, you feel heavy' on the left side of the screen and 'the truest poems' on the right.  Failing that, 'darling, you feel heavy' can be put on top and 'the truest poems'  underneath.




The Making of a Renaissance Vihuela



How did I survive?

I enjoyed the standing still of space and time, history stopping and mythology wrapping us in her blanket. I have never painted before, but I started to do so with an old box of watercolours that belonged to my husband as a kid. Fluidity fluidity seems what is needed, and transparency… Floaty, liquid watery women not sure if they are flying or falling, with whirling heads…...I decided they are my SHOPPING LISTS FOR THE FUTURE (work in progress)
I’ve been trying to figure out what makes me a woman, what makes us human…Rooted in the faraway past, they can catapult me in the future…
Re-Connecting with nature
Breathing the trees
Re-Membering that ancient female image
Re-Collecting the mythology
Re-Pair with the cosmos

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Concept, Writer, Director, Editor, Performer: Sunara Begum 

Partner: Xiom Music

Project 21 is a 21 channel audio visual installation exploring spirituality, femininity and identity intertwined with spoken word poetry, song and traditional chant. The short films are shot in 21 different cities across five continents exploring the shifting gender roles between East and West, the female form and its intrinsic connection to space over time. The films are an attempt to blur the geographic lines that continue to divide us but to rather focus on the binding creative and cultural forces that unify and help bring us together. The films draw from deities of pre-Islam Bangladesh to Yoruba Orissa gods of West Africa, and other ancient sites such as the Celtic stone circles in Cornwall, the Moai statues of Easter Island in the Pacific to the early rock paintings in the Ardèche region in the southwest of France, the rock temples in Ethiopia and the ancient Mayan stone pyramid of Kukulkan. These films are a way of bringing the gods of the past into the present. They represent a meeting point of continents that embody the sense of a story that is still evolving.

Project 21 incorporates gesture, movement and mime to activate the hidden history of heritage spaces and communicates this through sound and image. The body becomes a metaphore for an ancient symbol no longer recognised. Body, space, memory and movement assign themselves to the ancient architectural imprint and thus creating a theatre space for the environment that reflects the elements. This project aims to establish a platform for innovation, experimentation and the continuous development of contemporary movement  culture in UK and the European, Asian, African and Caribbean regions.


Concept, Writer, Performer: Sunara Begum 

Partners: MUSON / Xiom Music / Openvizor

Who Am I is an audio-visual album by Sunara Begum exploring spirituality, femininity and identity intertwined with spoken word poetry, song and traditional chant. It tells the story of a woman in search for truth, as she embarks on a journey of essence she looks to the natural world for wisdom to overcome her deepest fears. The project is a celebration of womanhood in its complexities; juxtaposing strength with fragility, doubt with surety and knowledge with wisdom.

Who Am I album brings to life Sunara’s untold story; that of a spirited outsider reaching into the future at the time of the Draconian Age. Serendipity, intuition and an enchanting journey of purpose as well as her quest to uncover the missing links of her ancestors, give this project its magical extra dimension. Who Am I is a transcendental audio experience traversing geographic borders in the pursuit of a collective consciousness. It is a meditation on the convergence of spirituality, mythology and mysticism; a unique meeting point between tradition and modernity. Written and performed by Sunara Begum and produced by Tunde Jegede featuring, Wura Samba and Kate Aluko.


Director, Producer, Editor: Sunara Begum

Partners: Xiom Music / Openvizor

Memories of My Mentor is a seminal documentary on the life and work of Dunstan Perera (b. 1936), an extraordinary visual artist and filmmaker who has dedicated his career to expressing truth through the poetic image. Seen through the lens of Dunstan Perera, the film chronicles eight decades of image making as Perera traverses the worlds of Asia, UK and America in his timely pursuit for ultimate artistic freedom. A philosophical man, who combines the wisdom of the East with the knowledge of the West, this iconic eccentric figure takes us through his unique perspective and world views on art, craft and creativity. Memories of My Mentor blends myth and memory in the search for illusive truths that lay at the core of every true artist. Portrayed through epochs of history and culture, the film gives a personal commentary on Perera’s tumultuous journey from Colombo (Sir Lanka) to London (UK) retracing his inherent legacy. Memories of My Mentor is written, produced and directed by Bangladeshi filmmaker, Sunara Begum and uses poetry, text and storytelling to reveal the complexities of an artist at work and his inner and outer world. 

The film traces the arc of Perera’s artistic, creative and personal life, his aspirations to artistry and the trajectory of his career with his invention of unique printing processes. The film directed by his student and men-tee, Sunara Begum, depicts their growing connection that shaped her life including her own creative path. Memories of My Mentor is driven by exclusive archival footage and audio along with personal insights from Perera himself - to reveal the evolution, growth and stamp only a creative icon of the 21st century artist can leave.


Concept, Founder, Director: Sunara Begum & Tunde Jegede

Kora Yoga is a new yoga system bringing together music, movement and meditation. The system combines the unique music of the West African kora tradition with the timeless philosophies and movement practice of India and the East. Each class brings together 21 core poses that correlate with the 21 strings of the West African kora (harp-lute) using music for reflection, stillness, motivation and inner calm. Progressive and challenging sequences, accompanied by therapeutic soft tissue release in every savasana. Kora Yoga creates spaces dedicated to the integration of music, art, yoga, holistic health and consciousness based on ancient Indus philosophy through ritual, wellbeing and ecology. Kora Yoga also organises retreats, escapes and experiences for the spiritual journey of yoga across the globe. With the help of co-founder, Tunde Jegede, their aim is to create lasting impressions for the soul's memory. This new system of 5 interconnected yoga classes brought to you by Sunara Begum, a practitioner and teacher of hatha yoga in Europe, Africa and Asia draws on classical yoga systems, such as ashtanga yoga, kundalini yoga, vinyasa flow and classical hatha sequences, but with new sequencing and modifications tailored to the needs of individual students.


Exhibition, Concept, Printwork: Sunara Begum

Partners: V&A Museum / Dimbola Museum / DP Archive

Retracing the Eye: Giving a Voice to the Voiceless explores perspectives on homeland, retracing legacies and memories of forgotten history. Sunara has a unique ability to evoke an immediate emotional connection between subject and viewer and much of her work is occupied in capturing and conveying the expressions, emotions and gestures of her subjects. Sunara’s interest in the pioneering work of the 19th century Victorian photographer, Julia Margaret Cameron, inspired her to stage a new interpretation of her work, engaging and developing a timeless relationship with her images. She re-imagines the life of her silent subjects, over a century later, and her work is a symbol of untold stories. This series of etchings suggests the power of reclaiming the silenced voice that is all too often written out of human existence. Retracing the Eye: Giving a Voice to the Voiceless follows an intimate and poetic narrative drawing from the natural environment. The colours and textures in her work intrinsically connect to the landscape that she engages with, reminiscences of terracotta, earth pigment and draws from her own indigenous culture. 


Founders: Tunde Jegede & Sunara Begum

Partners: MUSON / Xiom Music / Institute Francaise / Goethe Institute

New Horizons is an annual season of themed weekends bringing together music, dance, film and discussions. It brings together some of the finest international and local artists to collaborate and exchange through concerts, masterclasses, symposiums, workshops and new artistic creations. New Horizons is a three-day musical and theatrical festival celebrating Nigeria’s rich cultural heritage that engages in the highest calibre of the arts, bringing music and culture to the people and making it accessible to all. New Horizons is also an education initiative created to develop and transform young people into professional musicians and practitioners, through cultural exchange with established international artists. It is a unique programme that meets the needs of young, aspiring singers and musicians, supporting them in the early stages of their career. New Horizons is a forum to create a platform for young and emerging talent from West Africa providing opportunities to bring this to the wider world.


Founders: Tunde Jegede & Sunara Begum

Partners: Prince Claus Foundation / Openvizor

Living Legacies is Gambia’s first traditional music archive. It was setup to document and archive the unique Manding music of the Gambia and West Africa through field recordings, archival footage, photographs and audio recordings and make these available as a cultural resource to a new generation. Living Legacies is an initiative that was founded and created by the composer and Kora player, Tunde Jegede and the film-maker and visual artist, Sunara Begum with support from the Prince Claus Fund and Openvizor. The collection consists of over 100 personal artefacts, instruments, recordings and films drawn from private and public sources. It is also drawn from Tunde Jegede’s’s own personal archive of rare vinyl recordings, photographs and footage gathered over the last 35 years. These include filmed performances and interviews with some of the legendary late Master Kora players of the past including, Amadu Bansang Jobarteh, Jali Nyama Suso and Alhagie Bai Konteh. The Living Legacies Archive, Gambia’s rich cultural resource includes exclusive interviews, photographs and rare performances spanning as early as 1920s right through to the present day.

Tunde returned to The Gambia two decades later with the international filmmaker, Sunara Begum to conduct a series of field recordings to document the new generation of Gambian Traditional artists paying tribute to their predecessors. All of these recordings are presented as an online resource alongside archival recordings of the past to celebrate, encourage and promote music as part of a living tradition - a living legacy. Tunde Jegede and a team of musical enthusiasts continue to travel across West Africa researching and documenting lived traditions.  The collection will will form a basis for further research and new creations thereby passing the knowledge on and creating a space for new artistic exchange.   


Writer, Director, Producer, Editor: Sunara Begum

Partners: Xiom Music  / Papilio Collection / Dub Records

Truth & Art is an intimate portrait on the life and work of three global artists from distinct musical, cultural and creative backgrounds. It features global renaissance man, Tunde Jegede, guitarist and folklorist Derek Johnson and flautist and singer, Diana Baroni. The series explores the distinct musical, creative and cultural worlds of Africa, the Caribbean, South America and the Diaspora and looks at the complexities of being steeped within plural identities and yet finding one's essential voice and unique path. Filled with rare interviews and performances, it offers insight into their philosophy, inspiration and original voice.  Truth & Art weaves together fine art, film, documentary and performance to seamlessly tell a human truth through the process of observing and visualising the journey of each artist, the vulnerabilities as well as the power of the true human experience. A collection of evocative profiles on three artists and their mission, by the celebrated visual artist and filmmaker, Sunara Begum that takes us on a journey, delving behind the scenes and tapping into the pulse of creativity; revealing hidden aspects of their work and process.


Concept, Director, Producer, Editor: Sunara Begum

Epochs of Memory is a collection of experimental shorts by the visual artist and filmmaker, Sunara Begum who makes her own inner experience the centre of her films. Epochs of Memory is a modern folktale centred around a timeless character named, Ara. It is a composite of innocence, rebellion and trauma of childhood that explores the survival and sustenance of self and the acceptance of the ever-changing nature of womanhood as its principle subject. Epochs of Memory attempts to transform lived experience into everyday myth and though the female form represents the source of life and ultimately is symbolic of power, passion and triumph, it is also part of a greater mystery Ara is seeking to unravel on her  journey in pursuit of truth. The creation and journey of Ara is the story of a woman born in a timeless moment, a new face of the old world. It is a sacred narrative exploring the contemporary-ancient image where Ara’s movement also marks her freedom.


Questions is a piece is about Britain, difference, perceptions, questions around belonging and displacement of identity. The installation expresses a personal search for inner sanctuary and a place with a sense of home. As a young woman born in England I wanted to explore, in this piece, questions around perception, reality and lived experience. The audio is a series of statements and questions looking at how we define and perceive one another even before we get to speak.


Travelling, Light & Memory is a playful piece about movement, migration and memory through the sonic world of a child who is torn from  her homeland. For this piece I was particularly interested in how children deal with the circumstances of being exiled and how they find a place of comfort through repetition, song and chant.


Ara’s World is an exploration of Ara’s consciousness, contextualised within her personal social environment. It asks questions regarding the nature of relationships between Ara and family and between Ara and her wider society. Issues surrounding religion, race and gender emerge from this discourse.


Ara’s Sojourn is an intimate personal reflection on Ara, a fictional character who explores her journey through dance, visuals and texts of memory from her past. She emerges and recedes through various locations of an urban city searching for her inner voice through movement. She seeks a place of belonging, the illusive place that is home. We begin to see her quest for freedom of expression in a world where she feels she does not belong. We see how she is herself viewed by the outside world and see her lived environment as an adopted reality.


A slow and poignant visual meditation of love, timelessness and change. In this dreamlike trilogy shot on 16mm stark black and white, the narrative unfolds through the body’s gesture. The simple narrative is a thread woven among the deeply spiritual images of the body, skin, face and movement. Ara is a visual exploration of one woman and her wider social history. It brings a unique and personal perspective interweaving prayer, chant and expressing the eternal search for solace - an inner sanctuary. The film looks at the symbolic forces between mother, father and daughter in an exploration of motherhood, femininity and cultural identity through a woman’s evolution of displacement and alienation. We are taken on a journey through prayer and recitation, remembrance, sorrow and loss.


The Water’s Will is one woman’s evolution of lamentation and alienation through intimate reflections on life. It explores questions of homeland and the complexities of seeking a place of belonging. The Water’s Will follows a woman's journey seeking sanctuary in the quest to overcome her feelings of displacement. The narrative is told through the eyes of the artist as she seeks to find the hidden links to her ancestry.


The Pilgrim Within weaves sound, music, poetry and archival imagery to tell a personal story. The compositions and long transitional cross fades encapsulate a distinct cinematic language. The film takes on an autobiographical tone, both on the subject of women, the individual and wider society and can be described as a meditation on time. Filled with dramatic angles and innovative editing it investigate the ephemeral ways in which the protagonist's intuition drives her to an inner realisation. The film is a modern day fable set against a backdrop of a divided continent, it is a powerful story about a woman and her nation. A narrative led film that traces her journey as she reflects on the Indian subcontinent as a symbol of her life, a journey of ascension towards reconciliation. It asks the question, ‘who or what would I be if I was born into a non divided subcontinent?’

The Pilgrim Within is an exploration and presentation of the South Asian spirit world and its relationship with reality. We call this ʻpara-normal realismʼ. Itʼs a story about a character who becomes a witness to the changing times of India. Love, war, circumstance, fractures and tears that tear a nation apart. The Pilgrim Within follows a woman on the cataclysm of colonialism, a continent in chaos and her unique journey to reconciling these moments in her life. Humanity binds her. War tears her nation apart. The Pilgrim Within charts the powerful resilience of the human spirit.


Visions of a Traveller invites the viewer to take a trip to the New World in search of the explorer DH Lawrence (1928), and his intoxicated delight by the magic of dawn in New Mexico. Succumb, like us, to the poetic magic expressed through the intimate folds of the Latin soul the film immediately summons the intoxication of our navigations that scrolls through the most enchanting landscapes. In the footsteps of D.H. Lawrence, we are immersed in the New World as stages of an inner renaissance. The colourful interweaving of a personal journey whose path becomes the viewers crossing. The trip is allusively as an introspective invitation  where memories seamlessly glide into precise moments. We are taken into a world where the evocation woven into texts become intoxicating poetry that cultivates  modesty; a sensual and fatal figure becomes a myth.


Ara: A New Face of the Old World is an exhibition using photography, film and installation by visual artist and filmmaker Sunara Begum. Sunara draws her influences from the natural world, figurative painting, religious iconography, mystical philosophies and the cultures in which she was raised. Combining cinematography and storytelling, Sunara’s work explores the themes of memory, identity, femininity and loss. The exhibition includes medium format photographs, text, an installation series entitled, Ara’s Dreams and three short films shot on 8mm and 16mm entitled Ara, Ara’s World and Ara’s Sojourn.


Concept, Composer, Writer, Director, Kora, Cello: Tunde Jegede

Film, Multimedia Visuals, Costume, Staging: Sunara Begum

Partners: Xiom / Papilio Collection / Openvizor

Emidy is a musical odyssey of a Guniean slave who dared to dream, a touching and far-reaching portrait of Joseph Antonio Emidy. It is a new creation by Tunde Jegede (Anglo-Nigerian composer and multi-instrumentalist), that tells the extraordinary experience of Joseph Antonio Emidy, a violin virtuoso from the 18th century, who was a slave before becoming a conductor and composer. Tracing Emidy’s path, these chronicles recount an astonishing journey across three continents. They convey the moving story of someone who travelled oceans, lands and cultures embracing the worlds of classical, African and South American music, more than two hundred years ago. In this multimedia creation, video, images, dance movements, music and words interact and enrich one another.


First composer of the African Diaspora, he was a slave in Brazil, a virtuoso violinist at the Lisbon opera and the founder of the first Philharmonic Society in Great Britain. Born in Guinea in 1775, he was captured by Portuguese traders, to be shipped to Brazil and work in coffee plantations. Spotted for his talent as a young violinist, he was sold to the Portuguese court where he worked at the Lisbon Opera House until he was seized by British sailors during the Napoleonic Wars. Over the following years, he roamed the world as a ship fiddler on a vessel owned by the famous Navel Admiral, Captain Edward Pellew, until he was released in Falmouth in 1799. He then settled in Cornwall, England, and earned a living as a violinist and teacher, while also composing chamber music, concertos and symphonies, unfortunately lost. He was then appointed director of the Orchestra of Truro, Cornwall’s capital, and became one of the most outstanding musical geniuses of the early nineteenth century. Emidy fathered eight children and passed away in Truro on April 23, 1835. His life journey is an example for minorities and young generations eager for emancipation and recognition, such as those touched by the 'Hidden Routes' project set up by Tunde Jegede in Cornwall.


This is a tale which highlights very contemporary problems through a vibrant, smooth staging. This project is built around the extraordinary life of Joseph Antonio Emidy, a fascinating 18th century genius, a slave of Guinean origin, a violin virtuoso, who crossed the Atlantic and lived on three continents: Africa, South America and Europe. A booklet written by Tunde Jegede recalls the story of this character, picking up the traces of his travels and the notes he took during the latest period of his life in Cornwall. From these recollections, the Emidy Project draws a picture of the confrontation between worlds and cultures, slavery and racism, through dance, video and classical as well as traditional music. Throughout the composition, on stage as in the film with Lassina Touré and Ishimwa Muhimanyi, play the character of Emidy. These inspiring young artists add a theatrical and narrative dimension to the piece. Playing with light and shadow, the text delivered by the voice of the omnipresent narrator, as well as with the overall sonorities of the composition, Ishimwa has created a moving and captivating choreography which at some moments also encompasses the musicians. Dance, film and music illuminate the sensory world of Emidy, emphasising the emotional aspect of his experience. The films give a vista to his life and imagination where some scenes of Joseph Emidy's life are re-enacted by Ishimwa, is the creation of Anglo-Indian director Sunara Begum. These visual interludes on screen develop the main theme and interact with the stage performances. The musical score draws on oral traditional compositions, ancient manuscripts from Brazil and the Portuguese court, as well as Tunde Jegede’s own work. Songs, strings, kora, vihuela, arpeggione, percussion, transverse flute and bass weave the sound universe of Emidy. The artists gathered around this project envisioned reaching out to young talents from Africa and elsewhere.

Tunde Jegede: Concept, Composer, Writer, Director, Kora, Cello

Sunara Begum: Film, Multimedia Visuals, Costume, Staging

Femi Elufowoju: Actor, Storyteller

Lassina Touré: Dance, Movement

Diana Baroni: Baroque Flute, Vocals

Simon Drappier: Arpeggione

Rafael Guel: Vihuela, Percussion, Vocals

Arthur Daygue: Sound, Lighting

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