Reflections on this year’s Black History Month Theme of Saluting our Sisters

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Written by Dr Amelia Baldwin

Content Warning: This text explores issues such as racism and colonisation

I am a counselling psychologist whose personal story is very much linked with UWE’s. Back in 2004, I was part of UWE’s original cohort on what was then a brand-new doctorate in counselling psychology. It has been quite a journey from those initial steps into UWE and the profession of counselling psychology. I am very proud to be a graduate of UWE’s doctoral counselling psychology programme. I was honoured to be invited as a speaker at this year’s Black History Month (BHM) launch on the 2nd of October, 2023. The following is the speech I gave at the launch event, and it explores what this year’s BHM theme of Saluting our Sisters means to me:

This is a photo of Dr Amelia Baldwin. They are stood behind a microphone stand wearing a long yellow/orange dress.
Photograph of Dr Amelia Baldwin, Senior Lecturer in Counselling Psychology, delivering her speech at the launch of UWE’s 2023 Black History Month.

Photo credit: Naomi Williams
Instagram: @williams.naomi_
www.naomi-williams.co.uk

What are you?

I started being asked this as a 4-year-old when my parents moved back to their recently liberated home country of Zimbabwe. I came to realise that this referred to me as a racially marginalised woman.

It was the ‘what’ rather than the ‘who’ that I came to see would often shape my world. In other words, my intersectional experiences as a Mixed-Race neurodiverse woman would determine my reality. Contemplating and addressing the ways in which people, both in the past and the present, have engaged with this question has led me to a career that offers potential ways to address why this is a question and what the possible answers might be.

What am I? You can see why this question is posed. It reveals that my body could be classified as white or something else. To me Stuart Hall (1997) captures my experience when he says: “the body is” read like “a text … we go around looking for this … closer and closer for those very fine differences”. These are not random differences. Farhad Dalal (2002) explains: We are not “[chromatically] … black or white” (p. 3). Race has work to do – to separate the “haves … [from] the must-not-haves” (Dalal, 2002, p. 14).

In my case, the daughter of a Mixed-Race African mother and a father whose grandparents had immigrated to Africa from India. I was born into a world where Zimbabwe, still under an apartheid system, was called Rhodesia, so named after British coloniser Cecil John Rhodes. As a child growing up in Zimbabwe, the legal apartheid may have ended, but the very openly and deliberately structured system set up to divide and keep people in their relative positions of power had not.

My racial ambiguity in such a racialised world leads to the frequent and flagrant question and need to know – what are you?

As you can imagine, the 4-year-old’s understanding and, therefore, answer to this question compared to the 16-year-old’s answer were quite different. I will not repeat here how I responded as a 16-year-old, but needless to say, it did not offer any clarity regarding my racialisation. Friends from school later told me that they turned to the teacher’s register, which, unbeknownst to me, had all their student’s racialised categories, as determined under the apartheid system, listed next to their names. For me it had a capital ‘C’ for “Coloured”, the category for those of Multiple Heritage. What are you? In this context, the expected answer was this racial category.

There is something important in the intersectional experience of being a Mixed-Race woman that cannot be explained by looking at me or my characteristics on paper. It can only be understood by hearing my story. When you ask me what I am? (And let me be clear that I am not referring to the importance of accounting for the differential outcomes for those that are othered.) What I refer to is the figuring out my position within a system of power. It means: How do I think about you? How do I conceptualise you? How do I treat you?

I do struggle at times to identify with the International or Black student experience referred to in some discussions. Although I grew up in a very openly racialised environment, I also count myself lucky to have become politically conscious in an African country. I would say that many of my difficulties as an International and Mixed-Race female student, and now academic, often lie within the isms of a British system.

The focus is often through a kind of privilege-blind lens – our education systems, being less critical, being less able, speaking too much, speaking too little, asking for too much clarification, ignoring feedback, just being unwilling, being wilful, being passive, being aggressive; and not to mention the many hardships that seem to exist solely outside of the university space. … leading to explanations and solutions that don’t require us, as a university, to inspect what we do within the university environment. This is not to be dismissive of the real socio-economic differences that lead, for instance, to Black women being disadvantaged by gender and racial pay gaps. But somehow, whiteness becomes the measure of how to get it right; whiteness is equated with benevolence, and power differentials are mystified. 

As a student, the message was often clear – you are just not good enough. And it is not only the difference in terms of grades but also in the time you are given to speak, the language you receive when you do, how many times you’re silenced, how often you are spoken over, your words and contributions repeated without credit or changed into something so unrecognisable that it is actually used to reinforce the status quo; and the extra number of years that you are put through. It feels like the system wishes for you to just give up and leave. You internalise these negative voices. You can feel paranoid and that you don’t belong.

As a staff member, sometimes the message is equally as clear: I can find myself in deficit. Although I have the same title, I went through the same recruitment process, and I have a couple of decades of experience under my belt, my expertise, my professionalism, my ability, and my presence are questioned. It feels like not being given the benefit of the doubt. It is exhausting trying to figure out how to ask a systemic question as an individual person. I need not point out that not being racist is very different to being anti-racist. And I won’t claim that I have not been tempted to just keep my head down and avoid challenging the system, but I find this position equally tiring.

Luckily, I cut my teeth in practice, in spaces that championed the need to be a critical friend to those in positions of power. My research allowed me to explore Asian cultural experiences of indigenous healing – highlighting not only that Western folk psychological practices are only a few of thousands of healing practices from across the globe but also the damage of culturally inappropriate and neoliberal practices. My doctoral research offered me the opportunity to explore British women’s experiences of racist hate crime. In no uncertain terms was the message clear here – the problem and the solution to these experiences of Black women must not be solely located within individuals but addressed as the systemic issues of racism and sexism that exist across society. This requires an intersectional lens. We need to address the lived experiences of Black women.

Fortunately, I have benefitted from inspirational and supportive colleagues who offer their time and energy to make and develop places to listen, mentor, decompress, think about what could be done, and practice self-care. The reason that I am a part of UWE is because of these supportive spaces. But it does feel risky – sending that initial e-mail or knocking on that door. There is a real fear that I will end up experiencing epistemic injustice and be problematised.

Anti-racism and decolonisation take bravery (Hull et al., 2016). This work will mean challenging ourselves, our viewpoints as well as the system. Many point out that feeling comfortable is a clue that barriers are at play, preventing the achievement of anything of meaning. We cannot let discomfort prevent us from redressing what makes us all uncomfortable.

We are not going to understand where we are unless we understand how we got here. We cannot make the change needed without hearing the stories rooted in the past and re-enacted in the present (Butler, 1990; hooks, 2015). bell hooks (2003) warns that without real change to our education system, this will lead to a repeat of the past, as the only knowledge developed will be that which legitimises the current system.

This seems to me to be a central purpose of BHM. It emphasises the importance that this is not an annual event after which we return to the status quo and, therefore, have 11 de facto white history months. We need to not only hear these stories but to understand why they were silent, why they occur and how they are continued.

BHM is a month created to recognise and focus on Black history, which is British history. The omission and appropriation of Black his-stories and her-stories that occurred, for example, during the Enlightenment period, leads to our Eurocentric curriculum.

This year’s theme of Saluting our Sisters reminds us that Black women’s lived experiences need to be central in order to understand and, therefore, to address issues such as racism and sexism. Black Feminist voices are being silenced, and I see real potential for a university like UWE to address this issue. But I will not be the first nor, sadly, the last to say that academic spaces are renowned for being all talk and no action.

So, I will sum this up by asking:

UWE, what are you?

Where are Black women empowered to tell their story?

In fact, where are Black women present and not present?

Are Black women being valued equally?

How will Black women be central to determining all our stories going forward?

References:

Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Abingdon: Routledge.

Dalal, F. (2002). Race, colour and the processes of racialisation: new perspectives from group analysis, psychoanalysis and sociology. Brunner-Routledge.

Hall, S. (1997). Race, The Floating Signifier, Featuring Stuart Hall, TranscriptURL:https://www.mediaed.org/transcripts/Stuart-Hall-Race-the-Floating-Signifier-Transcript.pdf (last access: 02.10.2023).

hooks, b. (2003). Rock my Soul. New York: Washington Square Press.

hooks. b. (2015). Ain’t I a woman Black women and feminism ([Second edition].). Routledge, Taylor & Francis Group.

Hull, A. (Gloria T. ), Bell-Scott, P., Smith, B., & Cooper, B. C. (2016). But Some of Us Are Brave: Black Women’s Studies (2nd edition). The Feminist Press at CUNY.

Black Horror: Pam Grier, Voodoo Queen

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By Jasmine Gurung

This is a picture of Lisa Fortier (played by Pam Grier) in Scream Blacula Scream 1973. The picture depicts Lisa Fortier stood in a dark shadow filled room. Her hair is in afro style and she dressed in black with a red scarf around her neck. She is holding what looks to be a male doll and is staring intently at it.
Lisa Fortier (Pam Grier) in Scream Blacula Scream, directed by Bob Kelljan, American International Pictures, 1973.

There has been a shift in horror in recent years with filmmakers like Jordan Peele flipping the script and writing horror with fully fleshed out Black protagonists. In his work, Peele often depicts Black people being misled or tricked by their white counterparts, as in the modern classic Get Out (2017). His stories are radical, highlighting the scary reality of living as a Black person in America. This wave of revisionist Black horror has been seen before with blaxploitation horror movies made in the 1970s – a genre of films influenced by the Black Power movement and with predominantly African American casts. Although controversial for their representation of crime, the films make a point to lean into and reclaim stereotypes that the white media projected onto them.

Perhaps the most important actress in the blaxploitation genre, Pam Grier played the powerful heroines in Coffy (1973) and Foxy Brown (1974) – and inspired Tarantino’s Jackie Brown (1997). By taking on these roles, Grier challenged both the racial stereotypes and sexism that Black actresses faced at the time. In Scream, Blacula, Scream (1973), the sequel to Blacula (1972), she plays Lisa Fortier, the apprentice of the Voodoo queen, Mama Loa. Recognising her rare combination of intelligence, strength, and respect for the traditions of their craft, the dying queen chooses Lisa as her successor. Lisa goes through an empowering narrative arc that symbolises the passing of knowledge and responsibility between women, one generation to the next. Pam Grier is fantastic: her portrayal of Lisa is fearless and sexy, and she brings both beauty and resilience to the heroine. Carving her own mark onto a genre that was pioneering in its own right, Grier is an icon you should definitely watch on screen this Black History Month.

Further Black horror viewing for Halloween:

Scream Blacula Scream (1973) available on YouTube

Ganja & Hess (1973) available via Kanopy

Sugar Hill (1974) available via Internet Archive

Get Out (2017) available via Box of Broadcasts

Candyman (2021) available via Box of Broadcasts

Bristol Women’s Commission

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By Wiktoria Huber

On March 8th we celebrated International Women’s Day, as well as the 10th anniversary of the Bristol Woman’s commission chaired by Penny Gane.

Attending the commission was a wonderful experience, surrounded by an incredible and diverse group of people from many networks around Bristol acting on national and international levels collaborating together to help deliver the European Charter for Equality of Women and Men in Local Life. The commission reflected on the past 10 years of work, highlighting their significant accomplishments. One of their achievements was improving the inclusion of women’s health into national and regional policy, increased the number of women in Bristol City Council and launching a successful Bristol Women in Business Charter to improve the lives of women in the workplace, of which UWE is a signatory.

The commission also recognised the pressing concern for women’s safety and worked with partners, including the police, to address male violence against women.  Additionally, we heard from Oona Goldsworthy, Chief Executive of Brunelcare and Co-Chair of the One City Homes and Communities Board, who addressed the issue of homelessness and unaffordable housing, which significantly affects women. Since the BWC began working on this, women that are in danger of violence and abuse have been put into the first category for accessing social housing.

It was an honour to be involved in the 10th anniversary of the Bristol Women’s commission, surrounded by inspirational women who are making progress in tackling the challenges faced by women and celebrating the commissions accomplishments over the years!

Taking Action! The political life of Christa Wolf in her own words

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By Machaela Nicholls

Screenshot of Christa Wolf, from Time Loops: In Conversation with Christa Wolf (1990), directed by Karlheinz Mund, DEFA Film Library.

Christa Wolf was a revolutionary German novelist whose personal writings empowered the German people to stand up against oppression and the patriarchal society. In Time Loops: In Conversation with Christa Wolf (1990), we are allowed into Wolf’s home as she tells us of her involvement within the political sphere and the change she helped to enact.

We are shown archive footage from political and literary meetings alongside in-home interviews. Some of this is interlaced with Wolf’s voice-over reading from her novels and speeches. Through this we gain understanding of what inspired her artistic work.

She explains that she writes from a very personal place and is constantly questioning herself, which she brings into her writing. She talks about the effect growing up in Nazi Germany had on her writing and how she always advocated for a better government. Wolf is also inspired by love in her writing, stating that writing would suffer without love and that you need love to be able to write.

Wolf also advocates for women’s rights and the importance of women having a voice. This led her to founding a woman’s writing club in the 1980s where they would meet and discuss politics and their artistic work.

This film brings a voice to a great woman whose involvement in politics and writing changed Germany for the better. She decided to take action even when she felt that everyone was against her.

You can watch Time Loops: In Conversation with Christa Wolf on Kanopy

Further viewing:

Divided Heaven (1963) – based on Wolf’s novel, Der geteilte Himmel, directed by Konrad Wolf

All My Girls (1979) – directed by Iris Gusner

35 Photos (1984) and Winter Adé (1988) – directed by Helke Misselwitz

Zora Neale Hurston: Jump at the Sun – an outspoken woman’s eclectic career

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By Grace Woodwards

Dramatized radio interview between Zora Neale Hurston (Kim Brockington) and Mary Margaret McBride (Marceline Hugot). Screenshot from Zora Neale Hurston: Jump at the Sun (2008), directed by Sam Pollard, Kristy Anderson Films. 

Zora Neale Hurston: Jump at the Sun explores the research, travels and relationships of one of the most significant African-American women of the 1900s – author, playwright, filmmaker and anthropologist, Zora Neale Hurston. Living in the deep South, Hurston developed intensive research on Hoodoo religion and black folklore and published many books that are still loved today, including Their Eyes Were Watching God (1937) and Moses, Man of the Mountain (1939). Jump at the Sun celebrates the life of an outspoken and independent woman.

Hurston’s vibrant character is lifted from the screen, through a combination of grainy archival footage (some of which Hurston shot herself), new interviews with scholars and re-enactments. Jump at the Sun leaves no stone unturned, delving into her upbringing, research-driven travels, turbulent work relationships, political affiliations and huge literary success. It is no surprise that this documentary took 18 years to create given Hurston’s eclectic portfolio.

Jump at the Sun emphasises the strength of her success in a southern backdrop. Hurston broke racial stereotypes which allowed her into white spaces. She demonstrated how articulate composure made success more accessible, as part of the rise of the Black intelligentsia in the 1920s-1930s. Hurston is celebrated for stirring the existing literary canon as a successful black female writer, while bolstering black communities, culture and religion at the same time.

You can watch Zora Neale Hurston: Jump at the Sun on Kanopy.

Further listening and viewing:

Adjoa Andoh on Zora Neale Hurston’ (2023) – Great Lives, BBC Radio 4

Lorraine Hansberry: Sighted Eyes/Feeling Heart: The Life and Work of a Treasured American Playwright (2017) – Dir. Tracy Heather Strain

Maya Angelou: And Still I Rise: Biography of an Influential Civil Rights Activist and Poet (2017) – Dir. Bob Hercules, Rita Coburn Whack

Celebrating the Women behind the Camera

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By Machaela Nicholls

Screenshot from Women Behind the Camera, written, directed and produced by Alexis Krasilovsky, Canyon Cinema Foundation.

Women Behind the Camera (2007) is a film made by women for women. It brings to the forefront the pioneering women who pursued a life of camerawork in a male-dominated profession. It takes us all around the world, interviewing an array of inspiring women including Agnès Varda, Joan Giummo, Brianne Murphy, Hilda Mercado and Leelaben Paben as well as many others.

The film is broken up into chapters, with each one delving into different aspects of what being a camerawoman has been like, drawing on archive and on-set footage as well as interviews. This ranges from the struggles within the industry, to balancing being a mother and a cinematographer to the distinct visual styles they have. For example, Lisa Rinzler tried to create a sense of heightened reality when working on Menace II Society (1997); taking a liking to this type of cinematography, she focuses on giving each shot meaning.

These women tell us their stories of getting into the industry. They faced sexism, racism, discrimination, and sexual harassment. They persevered despite all the hardships and kept going. Many men in the industry told them they didn’t belong or ignored them all together – but they kept fighting for equality. This led to the founding of Behind the Lens in 1984, an organisation created by women who struggled to find work, in order to support and promote each other.

We hear these women’s voices and hear their inspiring stories. They advocate for women’s involvement in film and call for more women’s voices to be heard as they are so incredibly valuable. This is an excellent celebration of women and of a profession that is often pushed into the background. Here, we finally see the women behind the lens, who help tell our stories.

You can watch Women Behind the Camera on Kanopy.

Further viewing and reading

Learning to Skateboard in a Warzone (If You’re a Girl) (2019), cinematographer Lisa Rinzler, available on Kanopy Nikki Baughan (2018) ‘17 Female Cinematographers to Celebrate

Sisters with Transistors – electronic music’s forgotten pioneers

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By Grace Woodwards

Screenshot of Maryanne Amacher from Sisters with Transistors (2020), directed by Lisa Rovner, Aspect Ratio Films.

Lisa Rovner’s first feature documentary, Sisters with Transistors (2020), takes us through the forgotten history of pioneering women who shaped electronic music. From mathematicians to classical musicians, the history of electronic music is one of discovery and experimentation but also the erased relationship between women and technology. Delicately narrated by Laurie Anderson, a pioneer herself, Sisters with Transistors presents us with another case of women finding their own space in industries dominated by men.

From rare footage of Clara Rockmore expertly playing the theremin (an instrument played without physical contact) to Delia Derbyshire’s iconic composition of the Doctor Who theme, this documentary foregrounds the intelligence, charisma and determination of women directing the evolution of sound, from the post-war and countercultural period, into what we recognise today. However, their careers were not always taken seriously or credited. When Bebe Barron and her husband, Louis Barron, composed the first all-electronic film score for Forbidden Planet (1956), it was not taken seriously by executives simply for being ‘electronic’. Suzanne Ciani describes the preconceptions of being a female music composer, walking into studios where men assumed she was a singer.

Rovner lets the pioneers talk for themselves through archival footage. Her articulate and understated filmmaking is like viewing a postcard. The quality of many of these clips is like watching stagnant time, but seeing these pioneering women move freely and passionately with technology is as liberating as their discoveries. Their remarkable lives and hard work are lifted off the screen by the dissonant, vibrating and oscillating sounds of their machines.

You can watch Sisters with Transistors on Kanopy.

Further viewing:

The Sensual Nature of Sound (2005) – Dir. Michael Blackwood

The Girls in the Band: Female Jazz Musicians (2013) – Dir. Judy Chaikin

Bombshell (2017) – Dir. Alexandra Dean

Committed: Bringing a Stylistic Flare to The Dark Tale of a Hollywood Great

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Written by Harris Montgomery

Screenshot from Committed (1987), directed by Sheila McLaughlin and Lynne Tillman, First Run Features. 

Acclaimed novelist and cultural critic Lynne Tillman and feminist director Sheila McLaughlin combined creative forces to direct this stylised biographical piece that depicts the involuntary commitment of famed actress Frances Farmer. Noted for her work across numerous films and theatre productions, Farmer also gained notoriety for her public image, which was centred around her leftist political views. McLaughlin and Tillman’s expert directing shines new light on the tale, providing particular contexts that help to portray Farmer’s thinking and powerful persona.  

The film presents a strong protagonist/antagonist dynamic. Frances, portrayed excellently by McLaughlin, is painted as a beacon of charisma throughout the narrative struggles. The ‘men in suits’ approach to the dominant male ideology, highlights those in power as oppressive clones who constantly try to gaslight Farmer; and other women like her, into believing a diagnosis of mental illness purely for questioning the social norms. Their constant discussions of ‘freedom’ amidst their role as gatekeepers adds an undeniably humorous hint of irony, and the manner in which the narrative recounts Farmer’s life hammers home her position as a victim of society. 

The film’s stylistic choices capture the bleak nature of its events. The lack of score forces its audience to listen to the discussions it portrays, highlighting the importance of the injustice that unravels on screen. The monochrome cinematography enforces the contrasts between light and darkness, emphasising the social conflict that acts as a backdrop to the unjust events inflicted upon Farmer. The runtime of 75 minutes makes McLaughlin and Tillman’s writing efforts all the more impressive, pulling no punches and portraying its message with intense efficiency.  

You can watch Committed on Kanopy

Further Viewing: 

She Must Be Seeing Things (1987) – directed by Sheila McLaughlin  

An Angel at My Table (1990) – directed by Jane Campion  

Women’s Forum – LinkedIn and Building Your Personal Brand

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by Caris Rubenzer, Women’s Forum coordinator, and Immigration Advisor with Student and Academic Services

Women's Forum leaflets and biscuit tin

For the Women’s Forum June meeting, we invited Careers Consultant Tim Summers to come and talk to members over lunch (biscuits included) about LinkedIn and the benefits of creating and maintaining your ‘Personal Brand’.

For someone who was aware of LinkedIn as a concept, but had not managed to get past the profile creation stage (my account had been created back in 2013 and I had dutifully ignored it since then), I felt like this was a topic that would be useful for many women working in Higher Education.

Not only do studies indicate that women are less likely than men to apply for jobs where they feel they do not meet the job specification completely, but also that men and women actually employ different tactics to find jobs. Even more worrying, according to LinkedIn’s Gender Insights Report, recruiters are less likely to click on woman’s profile when searching for candidates.

Because of this, it is incredibly important for women to be aware of how valuable tools such as LinkedIn can be ultilised effectively to network, advertise and sell oneself as a unique individual with a wealth of expertise to offer employers.

Tim started the session by posing the following questions:

  • What does ‘Personal Brand’ mean to you?
  • How do you rate your social media confidence?
  • What positive change could LinkedIn support you to achieve?

From there, the Women’s Forum explored what LinkedIn has to offer and compiled a handy Top 10 Tips for creating your personal brand:

  1. Complete your profile! Include your work experience, job title and an engaging summary;
  2. Be engaging. ‘Add spice’ but don’t ‘over egg the pudding’. If your job title is Careers Consultant, it might be a bit over the top to label yourself as a ‘Transformation Specialist’;
  3. Edit your public profile URL. This will be easier to remember and share. You can also add it to your CV!
  4. Add connections. Don’t be shy! Write a note with your request explaining why you’d like to connect. You’ll be surprised with how effective this can be;
  5. Engage with the newsfeed. Commenting, posting and sharing on LinkedIn gets your name out there and you’re more likely to be recognised within your sector;
  6. Post questions. Posting questions can encourage others to engage with you and raise your profile;
  7. Join groups. Joining groups relevant to your sector provides a wider network and many more opportunities you may have otherwise missed;
  8. 5 minutes a day. Just 5 minutes engagement per day can inform algorithms to make LinkedIn much more relevant to you;
  9. LinkedIn Salary. Use this LinkedIn feature to compare salaries of similar jobs or to see what you can expect if moving into another sector;
  10. I’m free! Actively looking for another job or just keeping an eye out? You can turn on the “Open” option on LinkedIn to notify employers that you’re available.

Tim ended the session by providing some useful links for those who would like to find out more on the subject, including HE-specific resources created by LinkedIn:

UWE Bristol also provides career development support for staff. The Employee Assistance Programme (EAP) (staff only) offers 1 hour career consultations.

Additionally, UWE Bristol runs a mentoring scheme (staff only) which assists all staff with their career development and finding professional opportunities.

To summarise, the session was a short but useful introduction on the possibilities of using LinkedIn to enhance the way you navigate the often intimidating world of job hunting or networking within your chosen sector.

For me personally, the session inspired me to go through my now ancient account and give it a little spruce. The idea that 5 minutes of engagement a day can enhance your professional life astronomically seems like a win-win situation. If you also take into consideration the statistics around women not feeling confident about applying for certain jobs, engaging with LinkedIn can give you that extra confidence to go for that job you may have previously disregarded as an impossible dream.

If you are interested in finding out more about this session or the Women’s Forum in general, please contact us at womensforum@uwe.ac.uk

You can connect with Caris Rubenzer on twitter at @CarisRubenzer, or on LinkedIn at: https://www.linkedin.com/in/caris-rubenzer/.

Gender Networks: A Network for Network Leaders

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By Aimée Atkinson, Faculty and Service Liaison Manager on the Student Journey Programme, and one of UWE Bristol’s Women’s Forum Coordinators

Back in October I made the trip to London to attend a breakfast meeting hosted by Gender Networks. This is a network specifically for people who lead, chair or coordinate networks in their own organisations, across a broad range of sectors and industries. The Gender Network aims to support networks, at all stages of maturity, and offer to help network leaders find mentors from across sectors to help them take their network where they want it to go. Their meetings are an opportunity to be informed of the latest issues, as well as a chance to hear from a broad range of speakers, and an opportunity to share best practices. This is a membership organisation, and UWE Bristol’s Women’s Forum Coordinators had been invited to attend as guests of Vanessa Vallely OBE.

Vanessa, pictured above is an author, speaker and entrepreneur and is best known for launching We Are The City as a vehicle to help women progress in their careers. Vanessa also founded the diversity forum Gender Networks, the Rising Star Awards and TechWomen100 awards. A number of staff from UWE Bristol have won Rising Star Awards historically, including Jessica Coggins and Janice St. John-Matthews. Vanessa is an Officer of the Order of the British Empire (OBE) for her services to Women and the Economy. One of the highlights of my day was meeting Vanessa, who despite her status is both warm, and approachable, as well as inspirational.

The meeting was being hosted by Investec, who are part of the network. Members take it in turns to host the quarterly meetings, and they usually take place in London. Investec are known for their zebra, and attendees were delighted to see the zebra was also in attendance! (See image in top left of tweet above).

The whole event only took a total of 2 hours, beginning at 8am with a breakfast reception and an opportunity to meet fellow attendees. Most of the women I spoke to were based in London, however some had traveled from Manchester and Leeds, including Simone Roche, CEO and founder of Northern Power Women.

Despite being a short event, it was definitely action packed! After an introduction from Vanessa and a welcome from our Investec hosts, where they told us about their Taboo series, and the work they’d done to bring sceptics on board, as well as how they’d opened up their women’s network to male allies. We were then treated to a round up of gender related news from Harriet Minter who is a journalist and broadcaster. Harriet talked us through how companies can ensure maternity leave does not hurt a woman’s career, how Facebook have gotten into trouble for targeting their job adverts, the importance of gender allies in public as well as private spheres, the rise of working mothers, and the need to have women on boards.

Following the round up of the news, Vanessa encouraged us all to do some speed networking, with a twist. Vanessa encourages networking at all the events she hosts, and has noticed that people tend to network with people that look like themselves. All the blondes talk to blondes, the people with glasses find someone else with glasses. Therefore Vanessa set us the challenge of talking to someone who didn’t look like we did. I thought this was an interesting approach, and while enforced networking can often feel a bit forced, or awkward, fortunately this didn’t!

This was followed by table work, where the room organised themselves into small groups and shared their local successes, plans, and best practices.

Following this was a series of inspirational speakers, which began with Ann Francke, author and CEO of the Chartered Management Institute. Ann spoke about the gender pay gap, a topic she is an expert in, and one she has spoken about very regularly. Ann talked about the Broken Window Effect – this is a criminology theory, and refers to the work undertaken by New York City Police Commissioner William Bratton in 1990s in which tackling small crimes such as graffiti and broken windows lead to a reduction in crime rates. Ann argued that by tolerating small gender slights we are a long way off solving the bigger issues, such as the gender pay gap.

Ann was followed by Heather Melville, OBE. Heather talked about the need to diversify networks, and that by diversifying speakers it can encourage a diversified membership. Heather also spoke about the importance of sustainable networks and the need to encourage new leaders. She talked about the risk of a network hinging on one person, and that if that person leaves, it is possible the whole network can fall apart. Not only this, but it is a good development opportunity to bring new leaders on board, and it doesn’t have to mean you, as a leader, leaving the network entirely.

Heather was followed by Sherry Coutu, CBE. Sherry spoke about Founders4Schools and the importance of children, and particularly girls, needing role models, and how these are not always evident in their family or local community. Therefore Founders4Schools aims to inspire school aged children to reach their potential by providing them with role models, and in particular role models that they can relate to.

All in all it was an action packed, inspiring couple of hours, and there’s definitely lessons that UWE’s Women’s Forum can learn from the speakers. And what’s more these lessons are easy to share with any of the other staff networks at UWE, particularly around sustainable networks and diversifying speakers, to in turn diversify membership.

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