Fi Dem
    Zinzi Minott, Curator

    Fi Dem

    Zinzi Minott

    For those who fear the sea.
    For those who could not go home.
    For those who hear the cry’s between the waves.

    For those who have felt anger for Old Blighty and all she has done.

    For those trapped at home.
    For those who live in the slippage.


    For those who live in the consequence of…

    For those who got sent home.
    For those who never imagined a pain could cut so deep.
    For those who know the pain of a forgotten colony.
    For those who have no home.

    For those who’s generation became a scandal.


    For those we have lost to the immigration process.


    For those we have had to forget.
    In memory of my relatives who made the journey here with hope in their eyes, trust in their souls and still never found what they were looking for.

    For those we have had to forget.

    For those too sick to go home.
    For these terrified of dying here.

    For those who were only staying for three years.
    For those who didn’t mean to die here.

    For those who had to pick cotton.
    For those who’s passport makes them sick.

    For those trying to get a British Passport.
    For those who never got paid.
    For those they killed.

    For those that jumped.
    For those who cut cane.

    For those who gave in.

    For those who fought.
    For those who rebuilt the country.

    For those who rebuilt the country.
    Fi dem who took lick’s
    Fi all a unuh.
    Fi all a we.

    Fi dem.

    Zinzi Minott’s work focuses on the relationship between dance, bodies and politics.

    Strongly identifying as a dancer, she seeks to complicate the boundaries of dance and the place of black female bodies within the form. Her work explores how dance is perceived through the prisms of race, queer culture, gender and class. Zinzi is interested in the space between dance and other art forms, and though her practice is driven through dance, the outcomes range from performance and live art to sound, film, dances and object-based work.

    She successfully premiered her new work What Kind of Slave Would I Be? to a full house at Rich Mix and is planning to tour the piece this autumn alongside an R&D period into a new work based the dance in grime.

    In 2016/17 She was artist in residence at both Tate Modern and Tate Britain. During her time there She was commissioned by Tate to create her last piece “Nowse Bwoy and Aunty…The saving of a life” which premiered in February 2017 at Tate Britain as part of BP Families Festival with sound from cellist Pete Yelding.

    She has also been artist in residence at Rich Mix and Dance Research Space 2016/17 and currently resident artist at Somerset House and Once Dance UK Trailblazer. Most recently she has been awarded funds from the Arts Council England Artist International Development Fund, Jerwood Micro Bursary and the Live Art UK/ Live Art Development Agency- Diverse Actions Leadership Bursary. She is currently Artist in Residence at the Serpentine Gallery.