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Gus Casely-Hayford is a man on a mission to open up and diversify the arts sector.

As founding director of V&A East – one of the world’s most significant new museum projects and part of the mayor of London’s £1.1bn Olympic legacy project – he knows that shifting the canon won’t necessarily be easy.

V&A - Gus Casely visiting the Big Creative Education College
Courtesy of Victoria and Albert Museum
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Gus Casely-Hayford plans to speak to around 100,000 young people about his two new arts venues. Pic: Victoria and Albert Museum

Casely-Hayford told Sky News: “There are challenges that we have in this country… Years of museum tradition based around particular narratives.

“There’s a fairly conservative bedrock upon which we have to begin to build new narratives. Think about how we can actually include voices that it may have felt acceptable to marginalise a generation ago.”

Based in Stratford’s Queen Elizabeth Olympic Park, V&A East will bring two brand new arts venues to East London – a five-storey, 7,000 square meter museum on the waterfront, and a vast glass and brick storehouse, offering more than 250,000 curated items for public view, just a 10-minute walk away.

Balenciaga inspired

Based on an X-Ray of a Balenciaga ballgown, and informally dubbed “the crab”, the museum will form part of a new cultural quarter collectively known as East Bank, nestling alongside a Sadler’s Wells dance theatre, BBC recording and performance studios and UAL’s London College of Fashion.

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In a world where many consider the arts to be for the privileged few rather than the many, Casely-Hayford says his bid to highlight under-represented voices is clear cut.

He said: “These are our spaces paid for with our tax money. We should all be getting the benefit.”

Having moved back from the US to take up the role (he was previously director of the Smithsonian, National Museum of African Art in Washington DC), Casely-Hayford has applied a fresh view to the British art scene.

X-ray photograph of evening dress, silk taffeta, Cristóbal Balenciaga, Paris, 1954. X-ray by Nick Veasey, 2016 
Pic: Nick Veasey
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X-ray of a silk taffeta Balenciaga evening dress, Paris, 1954. Pic: Nick Veasey, 2016

He said: “Art is one of the things that we do better than anyone else. You look at the sorts of people who represent us best at the Oscars or in music, and they represent the cultural diversity of our nation.

“I would love it if in the museum sector, if we could really get on board with that, invest in that, but not just do it in terms of the art that we display on our walls, but also the people who curate our spaces.”

The Global South

The museum will collect work from around the world, prioritising issues from the Global South – Latin America, Asia, Africa, and Oceania.

And far from being a modern obsession or trendy buzzword, Casely-Hayford believes diversity is woven into the very fabric of being British.

Early concept image for V&A East Museum’s Why We Make galleries from design team
credit: V&A East Museum, Why We Make galleries (concept image)

PIC:JA Projects
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An early concept image for V&A East Museum. Pic: JA Projects

He said: “The thing that makes me proud is that we are a diverse nation. You think about our national flag, that we didn’t choose a tricolour.

“We chose a flag which demonstrates the differences and how we come together, that we are a number of different nations. We accept diversity, complexity, and we want our space to be able to tell those stories.

“All of that cultural complexity, the stories of empire, of enslavement, of all these difficult things. But also, the transcendent stories of how through creativity, we can come together as one.

“We can be a single nation that celebrates greatness, goodness, that celebrates the sorts of things that inspire a new generation.”

V&A East Museum tops out in Queen Elizabeth Olympic Park, Dec 2021. View from Tessa Jowell Boulevard. Pic: Victoria and Albert Museum
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V&A East Museum in Queen Elizabeth Olympic Park. Pic: Victoria & Albert Museum

‘An engine of transformation’

And he says aside from artists and curator diversity, attention must be turned to both the visitors and staff of the museum too.

“We want to build this institution from the ground up, for and with our local communities. We want it to reflect their need,” he said.

“When it opens in 2025 and you come into our space, I’m hoping that you’ll be welcomed by people who demonstrate the kind of cultural complexity of the people that live in and around this area.”

Not a man to rest on his laurels, he’s quite literally got on his bike to share news of the new spaces to secondary schools in the area, in a bid to talk to 100,000 young people.

It is his ambition that one of the children who walks through the museum doors will go on to have their art on the walls, or even one day claim his job.

Calling the spaces “an engine of transformation”, he wants the younger generation to see the creative industries as a viable profession, as he says, “not from the margins, not feeling they’re part of the peripheral, but right in the bedrock of institutions like V&A East”.

Holding institutions to account

Ahead of these potential new opportunities, emerging artist Heather Agyepong says the last two years have been transformational in black British art, offering her a position of power as an artist for the first time.

Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi
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Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi

She told Sky News: “I think since George Floyd was murdered, and the black uprisings, there’s been a real thirst and a kind of embarrassment about the lack of black British art in collections.

“In 2020, all of these institutions gave these massive pleas and dedications to include more black British art, which has been amazing. But I think now, two years on, you’re seeing that some of it was a little bit performative, or for optics.

“For me as an artist now, I feel I can hold those intuitions accountable because they made all of these claims, and I can go back and say, ‘what are you doing to address your collections? What are you doing to address the inclusion of black British art?’

“I feel quite empowered now, as an artist moving forward.”

However, she admits she wasn’t always as clued up about the rich heritage of the UK’s black artists.

Heather Agyepong, ego death, 2022. Originally commissioned through the JerwoodPhotoworks Awards, supported by Jerwood Arts and Photoworks. Installation view at Jerwood Space. Pic: Anna Arca
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Ego death at Jerwood Space, supported by Photoworks. Pic: Anna Arca

She said: “I did an MA at Goldsmiths in 2013, and that was my first introduction to black British art, before then, I think I didn’t even know black British artists existed, if I’m honest.

“My course convenor, Paul Halliday, opened my eyes to what that whole movement looked like. And I remember, I was just stunned, and I felt like, ‘why did no one tell me this?’, because I always felt I was by myself. So, that course was really instrumental in understanding the legacy of us as artists.”

‘Small and in the corner’

Speaking about her latest exhibition, Ego Death, which includes oversized fabric triptychs, one inspired by Oscar winning film Get Out, she says: “There’s a thing sometimes about black artists, we feel like we can’t take up space, that we’ve kind of got to be small and in the corner. Be kind of apologetic.”

She credits artists including Turner Prize winning Lubaina Himid, Sonya Boyce and Claudette Johnson – who all came to prominence during the UK Black Arts movement (BAM) of the 1980s – as “paving the way” for her, adding: “I wouldn’t be here without them.”

Lisa Anderson, managing director of the Black Cultural Archives. Pic: standing in front of xx Bethany to update
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Lisa Anderson, managing director of the Black Cultural Archives

Lisa Anderson, managing director of the Black Cultural Archives (BCA), also credits the movement with inspiring her to pursue a career in the arts.

For her latest exhibition, Transforming Legacies, which celebrates the 40th anniversary of BAM, she reunited more than 50 artists of African and Caribbean ancestry to recreate the iconic 1958 A Great Day In Harlem photo.

Anderson says improving representation across the board is a matter of teamwork.

“We need allyship as well. We need collaboration from galleries, other researchers, universities, auction houses so that they can validate and support the growth of the work from these artists,” she said.

Black British artists gather for photograph inspired by Art Kane’s A Great Day in Harlem. Photograph David Kwaw Mensah
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Black British artists gather for a photograph inspired by Art Kane’s A Great Day in Harlem. Pic: David Kwaw Mensah

Culture wars

As government funding has dried up, sustained support needed to give communities a level footing has dropped away.

But in the face of adversity, Anderson is hopeful: “We’re in the midst of a culture war with some key figures in the government questioning the importance of equality and inclusion and questions of diversity. So, it is very discombobulating.

“But I think the momentum for focus on artists from the African diaspora in a meaningful, inclusive way is something to be hopeful about. I’m definitely going to be joining hands with other organisations, other key leaders within the UK and internationally to keep that going for the long term.

“What would be horrendous, is if 20 years from now, we’re having to have a similar conversation. I don’t want that to be the case. I just want this conversation to expand.”

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V&A East Storehouse will open in 2024 and V&A East Museum will open in spring 2025.

Transforming Legacies is on show at Black Cultural Archives, Brixton, until 31st January 2023.

Heather Agyepong’s, Ego Death exhibition was first shown at the Jerwood Space, London, in 2022 and will tour to Belfast Exposed, Northern Ireland, in 2023. Her solo exhibition, Wish You Were Here, will be showing at the new Centre for British Photography from January and her work will be included in Photo50 at the London Art Fair in the new year. She will also be appearing in Amazon Prime’s forthcoming thriller The Power.

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Hundreds of barbers, car washes and American sweet shops raided in money laundering crackdown

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Hundreds of barbers, car washes and American sweet shops raided in money laundering crackdown

Hundreds of barber shops and other cash-heavy businesses have been targeted in a three-week money laundering blitz.

Police went to 265 premises, including vape shops, nail bars, American-themed sweet shops and car washes across England in a crackdown on high street crime.

The National Crime Agency (NCA) said 35 arrests were made, 97 people suspected to be victims of modern slavery were placed under police protection, and bank accounts containing more than £1m were frozen.

More than £40,000 in cash, some 200,000 cigarettes, 7,000 packs of tobacco, and more than 8,000 illegal vapes were also seized during Operation Machinize, which involved 19 different police forces and regional organised crime units.

Officers also found two cannabis farms containing a total of 150 plants, while 10 shops have been shut down.

The NCA estimates that £12bn of criminal cash is generated in the UK each year with businesses such as barber shops, vape shops, nail bars, American-themed sweet shops and car washes often used by criminals.

Goods seized during their visit to a vape shop in Rochdale.
Pic: GMP/PA
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Goods seized during a visit to a vape shop in Rochdale. Pic: GMP/PA

Police officers at a shop in Tameside. 
Pic: GMP/PA
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Police officers at a shop in Tameside. Pic: GMP/PA

Rachael Herbert, deputy director of the National Economic Crime Centre at the NCA, said: “Operation Machinize targeted barber shops and other high street businesses being used as cover for a whole range of criminality, all across the country.

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“We have seen links to drug trafficking and distribution, organised immigration crime, modern slavery and human trafficking, firearms, and the sale of illicit tobacco and vapes.

“We know cash-intensive businesses are used as fronts for money laundering, facilitating some of the highest harm and highest impact offending in the UK.”

Pic: NCA
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Money laundering crackdown. Pic: NCA

Security minister Dan Jarvis said the operation “highlights the scale and complexity of the criminality our towns and cities face”.

“High street crime undermines our security, our borders, and the confidence of our communities, and I am determined to take the decisive action necessary to bring those responsible to justice,” he said.

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Kara Alexander: Dagenham mother who murdered her two young sons in the bath jailed

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Kara Alexander: Dagenham mother who murdered her two young sons in the bath jailed

A skunk-smoking mother who murdered her two young sons in the bath while in a psychotic state has been jailed for life with a minimum term of more than 21 years.

Kara Alexander was found guilty of drowning Elijah Thomas, two, and Marley Thomas, five, at the home they shared in Dagenham, east London, in December 2022.

Alexander, 47, who had denied two counts of murder, was convicted at Kingston Crown Court in February.

Post-mortems on the boys found they had either been drowned or suffocated – but Alexander accepted at trial that she had placed them in the bath before they “accidentally” drowned.

Returning to Kingston Crown Court on Friday, Mr Justice Bennathan sentenced Alexander to life imprisonment with a minimum term of 21 years and 252 days.

The judge referred to the children’s father finding his deceased sons next to one another as “the stuff of nightmares”.

Mr Justice Bennathan said: “On the evening of 15 December 2022, you’d been smoking skunk.

“You’d been doing so every night for weeks, probably much longer. At some stage, both the boys were in their pyjamas ready for bed, with Elijah also wearing his nappy.

“You drowned them both by your deliberate acts.”

The judge said Alexander “unspeakably” held the boys under water for “up to a minute or two”.

“The bath was probably still run from their normal evening routine and I do not think for a moment that your dreadful acts were pre-meditated,” he said.

The judge said Alexander dried the boys, put them in clean pyjamas and laid them together, tucked in under duvets, on the same bunk bed.

“The next morning, their father, worried by your unusual silence, came and found them. The stuff of nightmares,” he said.

The jury heard how the boys’ father was due to have them that weekend and became increasingly concerned when he had not heard back from Alexander.

When he arrived at their home, she told him the children were upstairs sleeping.

When the father returned downstairs to call for help, Alexander had run away. It took the police around an hour to find her.

The Metropolitan Police said forensic analysis of Alexander’s phone, which had been found in a filled sink, showed it had been in regular use in the run-up to the murders, but on the day the children were found, no calls were made or messages sent.

This led detectives to believe that she had intentionally been avoiding people following their deaths.

Prosecutors said they built their case on showing the boys could not have accidentally drowned and that the only reasonable explanation for their deaths was that Alexander caused them to drown.

Read more from Sky News:
Family die in sightseeing helicopter crash
Man who murdered taxi driver after being refused cigarette is jailed

The judge said there was every sign Alexander was a “caring and affectionate” mother to both children before the events of 15 December 2022.

He pointed out that their father said Alexander “never shouted or raised her voice at the boys” and “never showed violence to the boys”.

The judge said: “From all that I have read and seen of you, I have no doubt that every day when you awake you will remember and grieve for the little boys whose lives you snatched away.”

Mr Justice Bennathan said Alexander was in a psychotic state when she killed her sons and that it was cannabis induced.

He said Alexander had a previous psychotic episode in 2016 in which cannabis also probably played a part, but acknowledged he could not be sure she was aware that the drug could trigger another psychotic state.

In his sentencing remarks, Mr Justice Bennathan warned of the dangers of drugs.

He said: “The heavy use of skunk or other hyper-strong strains of cannabis can plunge people into a mental health crisis in which they may harm themselves or others.

“If any drug user does not know that, it’s about time they did.

“At your trial, Kara Alexander, the three psychiatrists who gave evidence disagreed about a number of things, but on that they were unanimous.

“It will comfort nobody connected to this case, but if these events bring home that message to even a few people, some slight good may come from what is otherwise an unmitigated tragedy.”

Detective Chief Inspector Paul Waller, who led the investigation, said: “This is an incredibly tragic case, which has left a father without his two beloved boys and a family without two young brothers.

“Kara Alexander will spend the next two decades behind bars, where the memory of what she has done will haunt her forever.

“To the family and friends of Elijah and Marley, while no amount of time will erase the pain of such a loss, I hope this sentence serves to bring some semblance of justice.

“I hope you can now move on with your life, remembering the boys as you knew them, and treasuring the happy times you spent with them.”

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‘I don’t look at myself as a dying person anymore’: New drug that slows incurable breast cancer now available on the NHS

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'I don't look at myself as a dying person anymore': New drug that slows incurable breast cancer now available on the NHS

A groundbreaking new cancer treatment, hailed by patients as “game-changing”, will be available via the NHS from today.

The drug capivasertib has been shown in trials to slow the spread of the most common form of incurable breast cancer.

Taken in conjunction with an already-available hormonal therapy, it has been shown in trials to double how long treatment will keep the cancer cells from progressing.

“I don’t look at myself anymore as a dying person,” says Elen Hughes, who has been using the drug since February this year.

“I look at myself as a thriving person, who will carry on thriving for as long as I possibly can.”

Ellen Hughes has been using the drug capivasertib
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Elen Hughes says capivasertib has extended her life and improved its quality

Mrs Hughes, from North Wales, was first diagnosed with primary breast cancer in 2008.

Eight years later, then aged 46 and with three young children, she was told the cancer had returned and spread.

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She says that capivasertib, which she has been able to access via private healthcare, has not only extended her life but improved its quality with fewer side effects than previous medications.

It also delays the need for more aggressive blanket treatments like chemotherapy.

New breast cancer drug capivasertib
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Capivasertib is now available from the NHS

“What people don’t understand is that they might look at the statistics and see that [the therapy] is effective for eight months versus two months, or whatever,” says Mrs Hughes.

“But in cancer, and the land that we live in, really we can do a lot in six months.”

Mrs Hughes says her cancer therapy has allowed her “to see my daughter get married” and believes it is “absolutely brilliant” that the new drug will be available to more patients via the NHS.

The National Institute for Health and Care Excellence approved capivasertib for NHS-use after two decades of research by UK teams.

Professor Nicholas Turner, from the Institute of Cancer Research which led the study, told Sky News it was a “great success story for British science”.

Professor Nicholas Turner, from the Institute of Cancer Research which led the study
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Professor Nicholas Turner wants urgent genetic testing of patients with advanced breast cancers to see if they could benefit

The new drug is suitable for patients’ tumours with mutations or alterations in the PIK3CA, AKT1 or PTEN genes, which are found in approximately half of patients with advanced breast cancer.

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How AI could transform breast screening results
Breast cancer cases and deaths set to surge – study

Prof Turner says hundreds of patients could see the benefit in the immediate future, with thousands more people identified over time.

“We need new drugs that will help our existing therapies work for longer, and that’s where this new drug, capivasertib comes in,” says Prof Turner.

“It doubles how long hormone therapy treatment works for, giving patients precious extra time with their families.”

He called for urgent genetic testing of patients with advanced breast cancers to see if they could benefit.

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