The second work in the Fi Dem series, began in 2018, was released on 22nd June 2019. This June 22nd is the first National Windrush Day, a public holiday created by the government after many years of campaigning by the Black Caribbean migrant community and an extension of the wider reparations movement in the UK. A potential pacifier in the face of The Windrush Scandal no doubt. Minott reflects on this national holiday which sits in the middle of UK Pride Month and seems to get lost amongst its longer established contemporary. What does this mean for those like her, Black British first and second generation children and grandchildren of Windrush migrants who are LGBTQI+? This work also questions whose labour is it to remember this day? More specifically, the work of her maternal Grandmother Doreen Haynes, a nurse of 52 years.

Zinzi Minott

Zinzi Minott is an artist and dancer whose work focuses on the relationship between dance, bodies and politics. 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. She is also 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.
In 2016–17, she was artist-in-residence at both Tate Modern and Tate Britain. She was commissioned by Tate to create 'Nowse Bwoy and Aunty…The saving of a life' which premiered at Tate Britain with sound by cellist Pete Yelding. Zinzi has also been artist in residence at Rich Mix and Dance Research Space, and is currently resident artist at Somerset House and Once Dance UK Trailblazer. She was awarded the Arts Council's Artist International Development Fund, Jerwood Micro Bursary and the Live Art UK/Live Art Development Agency's Diverse Actions Leadership Bursary. She was Artist in Residence at the Serpentine Gallery 2018, and is currently one of two artist commissioned under CONTINUOUS, a four-year partnership between BALTIC Centre for Contemporary Art (Gateshead) and Siobhan Davies Dance to explore the relationship between contemporary dance and the visual arts. The work will premiere autumn 2019 at BALTIC and tour in 2020. Her new work What Kind of Slave Would I Be? will also tour this year.


Fi Dem II (2019), Fi Dem (2018), Gun Fingers and Opaque Bullets (2017), One Lyrical Bitch (2016)