In this personal essay, I reflect on the how cultural shifts in the British art world establishment, have enabled black artists who came of age in the Eighties, to enjoy late career success. I’m particularly interested in the careers of black women, who have traditionally been more overlooked by their male counterparts. I start with my own desire to connect to my Nigerian/African heritage when I was a young woman, one who had grown up brainwashed by the colonial project, and talk about the changes I have witnessed since the Eighties. I interrogate the value placed on transnational artists with ancestral ties to Africa by the art establishment then and now, and how those artists who are currently exhibiting in major art galleries and museums are often showing work created decades ago. This begs the question, if not then, why now? The article arises from a British Academy Lecture delivered on 9 November 2023.

This paper explores the lifeworlds of international youth involved in climate and/or environmental social action, narratives that have been largely absent from a literature that has tended to focus on ‘traditional’ youth activists located in the urban Global North. Written as a novel collaborative autoethnography involving youth as co-authors, the paper a) collectively reflects on the stories of youth from different countries and cultures on their journeys towards climate action, and b) foregrounds an emotional framing to examine these experiences. The youth co-authors, whose experiences are the focus of this paper, form part of innovative international Youth Advisory Board, set up to provide peer support to youth new to climate and environmental social action, as part of our British Academy Youth Futures-funded participatory action research project. We examine the youth’s narratives exploring opportunities and barriers they have navigated, their inspirations and the intersections with a range of other socio-cultural factors.