Creatives in profile: interview with Joana Ramiro

Joana Ramiro

Joana Ramiro is a journalist, writer and political commentator.

Born in Lisbon, in 2006 she moved to London, and in 2010 she became one of the founders of the National Campaign Against Fees and Cuts, as well as its Chief Press Officer. Since then, she has covered the occupation of Tahir Square in Cairo during the 2011 ‘Arab Spring’, as well as the 2015 Greek elections and the Calais refugee camp, among numerous other pieces of foreign correspondence.

Domestically, she was the first reporter to cover the fight of Focus E15, a group of London single mothers campaigning to be rehoused, after being evicted from a hostel by Newham Council in 2014. She has reported from a series of mass demonstrations, occupations, deportations and strikes, focusing on the effects of austerity policies in British society.

As a political commentator, Ramiro has been featured on Channel 4 News, BBC and LBC radio, as well as debates against fellow pundits Peter Oborne, Michael White and Peter Hitchens.

At a time when the truth is under attack – when journalists are attacked and maligned by those in power and those online, while Silicon Valley siphons off advertising revenue and amplifies untruths for profit – supporting, and hearing from, independent journalists is increasingly important. So Nothing in the Rulebook were incredibly pleased to catch up with Ramiro to bring you this following interview.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle
RAMIRO
 

Hi, my name is Joana Ramiro and I’m a freelance journalist and writer based in London. I carry a Portuguese passport and was educated in a German school. My dad’s Angolan. It was all a big melting pot back at home and I try to keep it so in my adult life too (not hard, given that I live in the capital of melting pots).

INTERVIEWER

Is journalism your first love, or do you have another passion?
RAMIRO
 

It wasn’t my first love but it should have been. As a child I wanted to be an actor but when I hit puberty my ambitions got thwarted by the usual patriarchally-instilled insecurities about my looks, weight, and general lack of self-worth. I then went and studied advertising but it wasn’t very satisfying as I needed something a little more academic at that point. So, to compensate the lack of enthusiasm for my degree, I started doing a political blog and getting involved with campaigns I always felt an affinity for. Things like justice for Palestinians and an anti-cuts campaign at my university. That then grew into the student movement of 2010/11 where I was the founder and press officer for one of the main campaigns (National Campaign Against Fees and Cuts). I went back to uni in 2010, did a postgrad programme in politics and then a masters in Middle East politics, went to Palestine and Egypt (during the occupation of Tahrir Square) and a few years later got a full time job as a journalist at a small daily called the Morning Star. A week in I thought: “Goddamn! Why haven’t I been doing this all along?!”

INTERVIEWER
Who inspires you, and why? 
RAMIRO

Great journalism inspires me and I think of the greats of old and sometimes wonder if it’s still possible to do that kind of work. Journalists of past and present like Martha Gelhorn, Ryszard Kapuściński, Svetlana Alexievitch, Clare Hollingworth and Paul Mason inspire me every day to speak truth to power.

INTERVIEWER

What is the role of journalists today, in an era of ‘fake news’ and accusations of media bias? 

RAMIRO
 

The role of a journalist at any time is to speak truth to power. To me that means looking at the balance of forces and asking yourself “Who is being exploited, oppressed, or used in this situation?” and then write about it. Much is said about media bias vs unbiased journalism and in the end, you’ll find, the judgement is always in favour of whoever is in control of the narrative. There’s always a bias in journalism because there’s always a bias in our societies. A good journalist asks herself in who’s favour is that bias and writes about what the effects of such bias might be. Who benefits and who suffers under X state policies? Who benefits and who suffers under Y ideology? From there, a journalist’s role is to shine a light on what is in the dark. 

INTERVIEWER

When covering complex political issues and discourse, how do you navigate the challenge between communicating an issue or subject clearly and effectively, while also bringing the necessary balance and nuance and critical thought required to ensure the piece has real genuine value? 

RAMIRO

Good prose is written simply but at length. Unfortunately, it seems that while writing simply is still cherished in our media landscape, length is going increasingly out of style. A dangerous precedent if you ask me. You can’t explain the complexities of war in a 250 word article or in a 2.30min piece. You can’t explore the nuances of the Venezuelan political conundrum in a series of Tweets. We need to start investing in long-form journalism, not only in the case of what is usually called “long reads” but as a matter of journalistic norm. If people will deadscroll through 5min inspirational videos they will watch a 5min piece about Cape Town’s Day Zero. 

INTERVIEWER

Do you feel any personal responsibility as a journalist
RAMIRO
 

Of course. That’s why I refuse to work for xenophobic and migrant-bashing publications (we all know who they are). I wouldn’t go as far as condemning all that do – many colleagues work wherever work is available because they’ve got bills to pay – but given the choice I’d rather not write than enable or legitimise far-right opinions and rhetoric.

INTERVIEWER

To what extent has current political discourse and debate sidelined other important issues facing the world; such as catastrophic climate breakdown?

RAMIRO

I don’t think it has. Not least because the current political discourse might include disgusting people like Viktor Orban and Tommy Robinson, but also includes inspiring voices like Alexandria Ocasio-Cortez (who does speak aplenty about climate and a Green New Deal).

INTERVIEWER

In an age of increasingly low incomes for journalists, and with funding models of traditional media corporations often favouring the large, Murdoch-owned papers over other independent news outlets, how can aspiring journalists break onto the scene while maintaining their journalistic integrity and any moral standards they may need? 

RAMIRO

Alas, it often seems nearly impossible and all the more so for young journalists who aren’t white middle class men  living in London. It’s good that places like the Guardian have programmes targeting this but more needs to be done. I suspect media reform is the way to go in order to tackle all these problems. Not to be too on the nose, but the Labour Party’s proposals on media reform announced last year would be a pretty decent start. 

INTERVIEWER

What’s your analysis of the state of both politics and journalism today? Where are we heading?

RAMIRO
 

God, I’d be a millionaire if I had the answer to that question. Can you imagine what the City would pay me for that sort of consultancy?! 

INTERVIEWER

What’s next for you personally? Any exciting projects we should know about? 
RAMIRO
 

I’m doing a lot of exciting things this year, but one of those I’m having a lot of fun at is my show Red Hacks. It’s a series of conversations with renowned journalists about being a leftwing journalist in a neoliberal world and it’s hosted by the Politics Theory Other podcast. The latest episode is with New Statesman deputy editor George Eaton. Do give it a listen 🙂

Quick fire round! 

INTERVIEWER
Vehicle of choice: Brexit battle bus or Corbyn bicycle
RAMIRO
 
Bicycle always! I have my own and it’s called Belinda.
INTERVIEWER
Curl up with a book or head to the movies? 
RAMIRO
 

Going to the movies in London is extortionate (unless you go to Peckhamplex in Peckham – £4.99 any ticket any day), so I’m gonna say curl up with a book. That would probably be my default choice anyway.

INTERVIEWER

Critically acclaimed or cult classic? 
RAMIRO
 

Always the classics. Casablanca is a masterpiece in far more ways than it’s known for. Same could be said about To Have and Have Not (I’m not just stanning for Humphrey Bogart, I promise).

INTERVIEWER

Who is someone you think people should know more about? 
RAMIRO
 

Erika Lust. She’s a feminist porn film maker and a champion of talking about women’s desire openly and outside of the liberal-cisgendered axis. Plus her stuff is simply beautiful to look at. I’ll be interviewing her soon. 

INTERVIEWER

Do you have any hidden talents?
RAMIRO

I can sleep anywhere under any circumstances, which is very handy for a journalist. Also, in a better world I would have spent more time singing in a more professional way. My brother (who’s an actual musician) and I have a few amateurish projects but I never seem to have enough time to invest in it properly or as much as I’d like to.

INTERVIEWER

Could you write us a story in 6 words?
RAMIRO
 
Fuckbois. That’s why she was single.
INTERVIEWER
Could you give your top 10 tips for aspiring journalists?
RAMIRO
 
  1. Go to the place, talk to the people. Don’t just write a story from whatever you saw on Twitter or whatever an expert commented on.
  2. Always carry a recorder (most phones will have one nowadays) and don’t forget the batteries (or keeping your phone charged).
  3. When taking pictures in a controversial or dangerous situation always carry two memory cards for your camera. Fill one of them with faff/tourist pictures of the place. Carry the one with the journalistic pictures in your sock or bra. Don’t cross checkpoints or police lines with a camera full of “incriminating” material. 
  4. Always carry cigarettes. Even if you don’t smoke. They’re incredibly handy appeasers, bargaining chips, conversation starters, bonding props. Odd, I know. But it works. 
  5. Learn the art of conversation. Everyone will get the same quotes if they ask the obvious questions. Make it your business to be more than a question machine. Offer something back, even if just a shown interest in what your subject has to say. 
  6. Advice I was given (part I): Start writing your piece as if following the sentence: “Guys, guess what?…”
  7. Advice I was given (part II): Read what you wrote out loud at least once. It really helps you catch otherwise unnoticed typos, grammar errors, generally weird sentences and such.
  8. Invest in a transcription programme (I hate hate hate transcribing). 
  9. Read! Read fiction. Read old books. Read theory. Read as widely as you can. Follow it up by listening to music or watching movies on the same theme (in my family we call this “a festival”). Learn the joys of immersing yourself in something other than what is labelled journalism. Good journalism is done with knowledge wider than that. 
  10. Journalism is team work. George Orwell relied on many many people he never mentioned in his books (true story – not just using this as a metaphor for the case in point). Acknowledge that and use it. Help others and ask for help. Reject the idea that journalism is a rat race. Reject the idea that work is a rat race for that matter. Revel in cooperation. It will make you a better journalist, if not even a better person. 
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Creatives in profile: Interview with Eric Akoto

 

Erik Akoto

In the latest of our ‘Creatives In Profile’ interview series, it is an honour to introduce Eric Akoto, Publisher and Editor in Chief of Litro Magazine.

With a journalistic background, Eric has featured in various magazines, and contributed to various books. He also curates and comperes at festivals such as The Latitude Festival and the Hay Festival. His passions lie in progressive politics, freedom of expression, quality & independence in arts and journalism, social enterprise, secularism, good technology, and above all the power of fiction to connect and bring a level of empathy to different peoples.

INTERVIEWER

Tell us about yourself, your background and ethos

AKOTO

There’s a long story and a short story. The short story of my background is that I was born in London and raised in South London, Battersea; I had a strict African upbringing. After leaving University, it was hoped I’d become a doctor or a Lawyer; but I had a creative spirit. Not knowing how to channel that creativity, I accidently landed a job as a male model – the job required a great deal of travelling. This was about 2000. Before the dawn of email and fast internet connectivity for sending large image files – so I would always be travelling, with an A-Z & my portfolio in hand. Spending hours on end on public transport – my sense of direction is terrible so I was always late – but I lasted for a good number of years and got to work with some amazing creative designers, photographers & magazine editors, which ironically lit a spark in me to get into magazine publishing. My first attempt at a creative publication was an e-zine called LA-NYLON (Los Angeles, New York & London) – I was about 25 and fortunate to have been offered the opportunity – through the modeling- to travel to some amazing cities. I wanted to create a platform where I was able to share what I was experiencing in these cities with friends.

Reading was always a passion and the time I spent travelling to and from interviews was always spent reading a book, magazine whatever I could get my hands on.

The long story starts in 2006, when I met a guy at the London Bookfair who was handing out a pamphlet – an A4 sheet folded in half – with short stories. I took one and on my ride home on the tube started reading it and thought to myself “this is a great idea I want my friends to see this”. I had a spider web of talented friends all doing different creative stuff, and so I began reaching out to them – for artwork, cartoons, stories, design – along with this guy in the space of a month or two we’d put together about a 20 page DL sized pamphlet. I took it to a local printer and printed a few thousand copies – and began distributing them myself.  It was a fun hobby and every couple of weeks I got these amazing creative friends together to help design, bounce ideas off each other and produce this pamphlet, which I then shared with them – and the rest of my community.  Before long a year or two passed and the guy from the bookfair went on to finish his PHD – and I’d fallen in love with publishing. I started taking the pamphlet to book shops – Foyles was one of the first book chains to support the magazine and after a few meetings with them they decided to sponsor the pamphlet – I managed to then convince Time to insert the pamphlet into one of its issues – to do this I had to increase the print run to 60,000 to meet it’s print run and at the same time decided to hold more stories and add more pages to the pamphlet turning it into a magazine and I haven’t looked back since.

My ethos has been shaped by the help given to me by the creative friends who supported me – it is being able to give a platform to emerging talent and Litro Magazine over the past 10 years has allowed me to do this.

INTERVIEWER

Who inspires you?

AKOTO

 I guess anyone who is “fair” to people and know that despite a “general” direction there is always another way.  Kwame Nkrumah, Nelson Mandela, Malcom X, Tony Benn, Ta-Nehisi, and my daughter.

INTERVIEWER

The future of literature; of writing – and indeed the future of publishing – are all frequently discussed at great lengths. What are your thoughts on current industry trends – where are we heading?

AKOTO

The future of literature and writing, to me has to be one of growth and diversity (diversity not in the populous term that’s now coined as a catch all for inclusion of Black and ethnic minority in the publishing industry (being a minority, Black and Male in a very white industry I find the term a little condescending) – but the diversity in the industry to embrace all talented writers through to editors, publishers; whether they be Black, Female, Transgender, Gay whatever and not to be diverse because it’s trendy. A great writer will be enjoyed and appreciated by all and not just the few.

In order to not loose the many talented emerging writers by the wayside – from the top-down of the literary industry – it must reflect today’s society.

For a long time the dialogue around the future of publishing has been one of death –  its true many publications have either transitioned to the web or given a greater focus on the web; but what the web has done for publishing is to kill off the kind of print that provides distractions of the ’10-minute-read-before-you-bin’ variety. In turn, this has cleared the way for titles that are fascinating, made with passion, collectables.

Print does a great deal that the web can’t and vice versa – there will always be the need for a tangible, haptic experiences. Ultimately, nothing can replace the smell of a printed material. Even if the web / new technologies being developed cause a shift in the regularity of the reading experience.

INTERVIEWER

What do you think a Literary Magazine should be for? Why are they important?

AKOTO

The sad truth is that literature or literary magazines does not reach a wide enough audience; yet alone have any chance of competing against other entertainment options – Binge TV watching, movies, journalism and non-fiction. More people will camp outside an Apple store for the launch of a new iPhone than they would for the lunch of a new literary magazine or a book. If the competition was a boxing match, there would be an inquest as to why the referee allowed the match to start in the first place.

It’s important for a literary magazine – on surviving its daily pounding from other entertainment options, it’s struggles with lack of funding – to produce a publication that does not just cater to writers but for the general reader – a platform for writers to write, emerging voices to be heard, but importantly a place for it’s contributors to develop a place to be heard for their particular beliefs or aims that they feel will better society and move culture in a positive direction.

Contributors to literary magazine’s should not expect to be published because they have done the rounds and feel it’s their turn to be published; but instead should be contributing because they feel their voice / story has something to say. And it’s in the publishing of these contributors that makes a literary magazine important.

Litro Magazine, for instance, has a clear identity. We have always championed and provided a platform for emerging writers, whether through print, online, festival stages, our newly launched literary agency – Litro Represents – and through other opportunities.

But alongside this, we also publish contributors with arguments about the current cultural dialogue, and political landscape – through the monthly themes of Litro Magazine – we do this so we can encourage an attitude to writing that goes beyond just getting one’s name in print.

INTERVIEWER

Obviously, the rise of the internet has seen a big culture shift in the publishing industry; with numerous magazines switching from print to online, and others starting out and continuing as purely digital platforms. How do you balance the two outlets of print and digital with Litro? What are the different challenges you face with each of these?

AKOTO

I’m an early adaptor and a big tech geek, but I also enjoy the tangible feel of the printed form. There’s nothing better than meeting a person for the first time having a passing conversation – and for that person to then send you a book he/she has read and feels you will enjoy!

The internet has certainly provided a massive opportunity for writers – and consumers; but I don’t see a fight between print and the internet (for one thing print would surely loose before the bell rang). Instead, I see a nice challenge – how one can get the two to compliment each other. For instance, three years ago we started our collective story telling on twitter the #litrostory; and the experiment has been a great way to reach a new audience and followers on social media and draw them to the magazine.

INTERVIEWER

The magazine and online platform both look to combine various different aspects of literature – and indeed, culture in general, through a medium of different forms; from stories to reviews and comment or feature pieces. Why do you think it is important to combine these mediums?

AKOTO

I started Litro to share stories with friends who not only have differing practices but also differing interests – and I’d like to think of Litro Magazine’s readers as the same.

INTERVIEWER

Literature, and ultimately all art, is about communication and expression. How does Litro fit within our cultural conversation? And how do we ensure the conversation carries on?

AKOTO

I’m sure many in the publishing industry see Litro Magazine as incomprehensible – considering the fact we don’t just cover literature, yet we still call ourselves a literary magazine. The great thing about Litro being a small magazine compared to our larger, older contemporaries – who have greater access to funding and trusts set up – is that we are able to address topics and questions more openly.

The classical musician Bach was dismissed by his peers, who thought his music was incomprehensible. Employed by a church to play the organ, he was rebuked as having  “many curious variations in the chorale, and for having mingled many strange tones in it, and for the fact that the congregation has been confused by it”.

With Litro we provide a platform for the unheard, the experimental – and at times unpopular.

For literature and all art, we need to ensure the conversation continues to flow – so all of us – especially those in a position to help support the arts – must not be afraid to experiment and take chances.

INTERVIEWER

David Foster Wallace once opined that it was “getting harder and harder to sit quietly by yourself and think hard about something for thirty minutes instead of thirty seconds”. Do you believe that the ‘instant gratification’ culture of iPods, televisions in car back seats and constant information on our smartphones is having an impact on us as readers? How can the publishing industry counter this? How do we engage our readers effectively?

AKOTO

Our reading habits as a whole has been impacted by the rise of the use of smartphones and other hand held devices. Developments in technology moves so fast that I guess an ‘iPod’ now belongs in a museum.

Whether the change in our collective thirst for instant gratification needs countering – on the one hand yes, but the book as a product and the way it is consumed – has had to change to keep with the times, in the same way music consumption changed from a product packaged on a TDK cassette tape, on vinyl, or a CD, to a file on a smartphone or iPod.

But will book reading actually suffer – and its consumption need more engaging?

I doubt it. My daughter – who at just 11 has more handheld devices than I have, with Kindles, iPhones…you name it! –  But recently she not only re-introduced me to one of Kipling’s poems – but also to a poem by Jacqueline Woodson, New York from her collection Brown Girl Dreaming – a book I ordered on Amazon.

The new era of books may actually see more authors, more reading, and more books being bought and sold.

 INTERVIEWER

Could you name your top five writers – and explain why they impress you?

AKOTO

I am impressed and engaged by so many writers it’s far too difficult to limit to just five.

INTERVIEWER

How would you define creativity?

AKOTO

For me, creativity is passion, and wanting to unleash something you feel you need to share, beyond your immediate surroundings and not having the fear of ridicule stop you from doing so. Ultimately, creativity is the need to create something new, which is very hard to do.

INTERVIEWER

In an internationalist, interconnected world, ideas and creativity are constantly being flung across community threads, internet chatrooms and forums, and social media sites (among many others). With so many different voices speaking at once, how do you cut through the incessant digital background babble? How do you make your creativity – your voice – stand out and be heard?

AKOTO

I stopped watching the Television a while ago – which has been a great help, I like to run in my local park – I’m fortunate to live not too far from Hyde Park, which has a lot of green open space.

INTERVIEWER

Could you give your top 5 – 10 tips for writers?

AKOTO

Read, Read, Read, Read and Read some more – even it’s just a menu at a restaurant, a random magazine you pick up whilst travelling – you never know where your inspiration might come from. It’s also good to have a complete knowledge and understanding of whatever it is you end up writing.

All that jazz: the latest Write Stuff jazz journalism initiative returns!

jazz

Calling all new and aspiring jazz writers, the latest Write Stuff jazz journalism initiative returns for its 13th year in November at London’s Southbank Centre with a new series of workshops and mentoring sessions held during the EFG London Jazz Festival.

Founded and organised by Jazzwise and Serious, the Write Stuff gives new jazz writers a free opportunity to work with professional journalists to improve their writing skills and develop an understanding of music criticism and the workings of the jazz and mainstream music press and the blogosphere, as well as getting to see a wealth of concerts!

The Write Stuff will include sessions on feature writing and live reviews by Jazzwise writer and BBC broadcaster Kevin Le Gendre; an insight into the history and development of the UK jazz and music press with Jazzwise editor and publisher Jon Newey; online journalism with Jazzwise’s deputy editor Mike Flynn and input from other writers and jazz industry figures.

Several Write Stuff participants have gone on to have pieces published in The Guardian, The Wire and Jazzwise as well as work within the wider jazz and broadcasting industry. This year’s participants will have their work posted on both the Jazzwise and festival’s websites and one review considered to be of particular merit will be published in a subsequent edition of Jazzwise.

How to apply 
If you are interested in participating in the Write Stuff please submit by email a 300-word review of a gig/concert that you have seen recently, together with a CV and full contact details by Monday 28 September 2015 to learning@serious.org.uk . 

Applicants must be 18 years old or over and be available in London on all of the following dates:
• Friday 13 November (evening);
• Saturday 14 – Sunday 15 November,
• And Saturday 21 – Sunday 22 November.