Media Partners

If you are working on a project and require a media partner to help enhance awareness and for additional exposure – we can help you. Having Media Diversified as an official media partner will help bring your message to the masses. Our visibility online, on social media, and through our extensive network means we have built up a strong brand that can work for you too. Please contact us to discuss a range of advertising and sponsorship packages devised to suit your budget.

Media Diversified has project managers on our team available to help your organisation with your next project. We provide expert advice on practical ways to diversify the UK’s media and can provide speakers for your next event. We can connect you with potential new staff members from BAME backgrounds, both freelance and contract. Please contact us for further information and our rates.

Experts Directory

The Media Diversified Experts Directory is a global database of BAME experts in a wide variety of fields. It’s geared toward corporate and media clients, with experts available for consultancy, training, talks, and much more.
Many business now are seeking to increase their racial diversity, but lack the structures needed to incorporate it into their practices in the long term.
By connecting clients with BAME people who are experts in their fields and setting up opportunities to create key long-term networks, the Experts Directory is an excellent resource for implementing real diversity in a sustainable and socially aware way.

Our most recent research project was for the Royal Society of TV – Diversity Committee. We monitored the diversity of UK TV drama and comedy. We recruited a group of 15 volunteers to monitor prime-time terrestrial channels from 7pm-11pm each night and fill in a simple form. The data was given to the RTS for use in a project they had embarked on. Please contact us for further information and our rates.

Media Diversified’s audience of mainly 18-45 year old consumers and creators come to us for fresh perspectives and intelligent critique on politics, culture, fashion, religion, feminism, TV and more. We strive in all things to be thoughtful and thorough. The majority of our traffic is from the UK followed by the US, Canada, Netherlands, South Africa, and Australia.

Books, digital gaming, TV and film, magazines, concerts and conferences are amongst the products and events that engage our audience.

We have an experimental, switched on, multicultural and multiracial audience and a great design to showcase your product or service.

We’ve been linked to by The Guardian, Daily Telegraph, Independent, Vanity Fair, CNN, Daily Beast, The Intercept, GQ France, Paris Review, New Statesman to name a few. We’ve also been featured on BBC Radio and TV: BBC Newsnight, Victoria Derbyshire and BBC World, LBC Radio, Aljazeera English and in Grazia magazine.

MD Header

We have very competitive rates and a number of options for Twitter, Facebook and Tumblr promotion on top of site ad links, pop -up competitions, banners, and sponsored posts or series. We can combine any or all of the above for specific campaigns. Please contact to learn more and discuss options.

We  have an active presence on social media, including Twitter, Facebook and Tumblr. Our tweets have a reach of over 10 million each month, while our Facebook page reaches between 1.4 million and 1.73 million each month.

Our Audience

  • Social networking users and content creators though Twitter, Facebook, Tumblr, Reddit, Instagram, and Pinterest
  • Media professionals – journalists, editors, publishers, broadcasters and bloggers
  • Teachers, academics and university students
  • Creators of writing, photos, art, and video

Our Reach

  • Over 100k site visitors a month
  • Twitter: over 42,500 followers
  • Facebook: over 22,700 fans


We have a range of in-house equipment including HDV Cameras, live video streaming and audio recording equipment.  Our crew members are all skilled in various areas of production, filming and editing and we are able to bring any project to screen.
To talk to us about your project, please contact us via the form below and we will get back to you to discuss the project in more detail.

Our live event shoot packages cover everything from panel discussions, seminars and corporate events through to amateur stage productions and fashion shows. We film in High Definition Video and will use one or two cameras depending on your requirements.

Completed edits can be provided on whichever format you want and (if required) uploaded to YouTube.

Project expenses relate to such items as travel costs, tape stock, DVD stock for post-production and anything else required as extra by the shoot.

We offer an editing-only service for existing footage or projects you may have that are either unedited or require re-editing.



Snapshot 2012-03-31 02-13-17AKA presents a specially commissioned photography exhibition and fundraising night in aid of Sickle Cell Anaemia, as part of Sickle Cell Awareness Month.

The exhibition kicks off with ‘Cellective Presents…’ a night of live PA’s, DJ sets, visual art, fantastic auctions and giveaways in AKA on Wednesday 26th July from 7pm till late, all in aid of raising money for Sickle Cell Anaemia.

Brit soul legend Omar will be performing live, with his unique mixture of reggae, raga and hip hop flavoured soul music. Omar is best known for his 1991 hit ‘There’s Nothing Like This’, and has collaborated with artists such as Stevie Wonder, Angie Stone, Common, Rodney P, Carleen Anderson and Erykah Budu, to name a few.

Joining Omar will be DJ royalty Norman Jay (MBE) and C-Mone, the leading female voice in the UK hip hop scene, who has drawn comparisons with Mike Skinner. Choice FM’s Asha will be hosting the fundraising auction, joined by a guest MC to be announced.

72dpiemmanuel(print)72dpichris(print)Further prizes donated to be auctioned off on the night include a VIP night out to Layo and Bushwaka!’s Saturday night residency at The End, the entire BBE music back catalogue, tickets to The Raindance Festival, £1,000 worth of art from Ginger White rent-free for six months, plus donations from up and coming clothing labels 84’ Fresh, Phuturehype and beverageheaven 24/7. All these will be auctioned off to the highest bidder on the night.

All proceeds will be donated to The Sickle Cell Society. Tickets are £10 in advance and more on the door.

72dpikaty1As well as being an important fundraiser for The Sickle Cell Society, the night celebrates the start of AKA’s Sickle Cell Exhibition, featuring a series of specially commissioned photographs inspired by and featuring people with Sickle Cell.

The photographs aim to represent what Sickle Cell means to sufferers, as photographer Benedict Young explains;

“All the people photographed have full blown sickle cell or are carriers. I have chosen locations within their local area that symbolise Sickle Cell and its effect on them: spikes as a metaphor for pain, Wandsworth prison as a metaphor for the life sentence, paintings of a bear and evil-looking man and woman to symbolise the danger, and chains and an incomplete ‘O’ to represent the cells.

t was very important to me to represent them in the most positive possible light and to show that with the right knowledge Sickle Cell can be coped with.”



Nowruz No War is an event to celebrate the Persian New Year and learn about Iranian culture and its links to our own.

Nowruz, literally “New Day”, is the day in which the dawn coincides with the Vernal Equinox – the beginning of Spring. It is an ancient event whose origins are lost in the mists of time, but generally attributed to Zarathustra (usually referred to by his Hellenized name “Zoroaster”)

Being astronomical in nature Nowruz takes place at exactly the same time worldwide.

Celebrated by Iranians,, Kurds, Zoroastrians, Jews, Christians and Muslims, it is a time for Spring Cleaning, visiting relatives, buying new clothes, special treats for children, egg painting and other rites such as “Haft Sin” or “Seven ‘S’s”.

It is believed that one’s behaviour during Nowruz will set the tone for the whole year; given the current tensions between our political leaders, it is the perfect time to learn and appreciate the culture of Iran as well as help build a culture of peace in our own land.

Our first event will take place on Saturday 24th March, the first Saturday following Nowruz and will feature a fun and heady mix of film, calligraphy, language, family activities and food.

So get ready to enjoy the new day.


flyernowruzProceeds from the day will go to The Society for Chemical Weapons Victims Support (SCWVS), a Tehran based NGO which works with the victims of Chemical Weapons (used extensively by Saddam Hussein against Iran) and seeks to prevent the future use of such atrocious weapons..

Our final programme is a balanced a mix of music, poetry, linguistics, debate and film, this will also be reflected on the website. Our aim is to show Iran’s people and culture, through which any sincere and genuine attempt at peace would come and impart crucial information to the both press and public.

PROCEEDS FROM THE DAY are to be donated to The Society for Chemical Weapons Victims Support (SCWVS) an NGO based in Tehran which works to alleviate some of the suffering of those affected by the use of chemical weapons and to prevent their further use.

Website: Nowruz No War

Facebook: Nowruz No War Facebook Page


Even a cursory glance of the media would seem to show a situation of an ongoing crisis with Iran and impending war. Young gamers are already playing in virtual invasions of Iran and Iranians are commonly shown as brutal savages. Meanwhile real covert operations are taking place, ordinary Iranians are suffering the consequences of ever more brutal sanctions and politicians talk not so much of  whether violence should be used, but rather what kind of violence might be more “useful”: further sanctions, further assassinations, backing local terrorist groups such as MEK and Jundallah, bombing or even full scale invasion.

The assertions of a crisis are vague and often based upon hearsay amplified by political leaders and sensationalist journalism. Unless checked they may become a self-fulfilling prophecy as tensions heat up.

Sanctions against Iraq took a horrendous toll on the civilian population, during the 12 years between the 1991 Gulf War and were in many ways merely a softening up prior to the Iraq Invasion of 2003. Already Iranian civil society, and with it the chance for genuine indigenous progress on human rights and democracy is being weakened by sanctions, threats of war and the spectre of covert operations.

The words Now Ruz, or New Day, perhaps act as a call to reflection and a rethink of our ideas and prejudices (remember the origin of the word is “pre-judgement” – to judge before one knows).


Expect Film, Live Music, Poetry, Debate & Photography – Saturday March 24th from 3pm to 11pm @

Amnesty International UK, The Human Rights Action Centre, 17-25 New Inn Yard London EC2A 3EA


A Glance at some of the day’s activities:

Poet Anthony Anaxagorou and musical artist Marcel Cartier + Nana D

Anthony will also be discussing the 13th Century poet Saadi’s poem “Bani Adam”, “Sons of Adam”, a translation of which sits in the United Nations.

Photo Exhibition by Parisa Nasri

Poet and DJ Afshin Shemirani will be behind the decks, for a last hour of dancing to a mashup of Persian traditional music and tech house.

iheardrumsFilm screenings

A SURPRISE Iranian Feature debut for the U.K it has already won prizes in film festivals.

Academic talks In the name of peace, in opposition to war, the panel joins three dots. Our dots are three of the defining faculties of humanity, language, mathematics and imagery. The panel will prove that human rights are not something on a wish list or a political slogan, but something now provable by science and logic. One key aspect of the scientific advance here will be demonstrated by a new experiment. This will use apparatus, never before seen in public. But advances have been not just made, but lost. That is just part of why our panel is for peace, not war.


BBC WORLD SERVICE: Talk to performers Reveal Poison and Mazzi S.O.U.L Purpose

LIVE STREAM Perfomances

‘Poetry, Politics & Experience’ by Anthony Anaxagorou



Negligence by the powers that be have left the roads in a disgraceful condition. This neglect is endangering lives EVERY single day. It’s time to end this impunity. If we don’t , who will?

P1100283On which day recently did you travel along a road and not find some sort of small to large pothole or many badly placed potholes on that road? It effects you, it effects him, it effects her, it effects all of us…daily. Perhaps this small action and naming a national day of pothole protest will get the powers that be to finally think about the population of this country and the endemic negligence that endangers peoples lives every

A resident of Uganda “there is a section of road before ntinda junction coming from kiwatule which has very badly placed potholes. I have had one accident there and nearly just had another. I plead with anyone reading who has connections with decision makers to fix that unfortunate section of road. I don’t want to die there!”


P1100227BBC WORLD SERVICE Africa A group of Kampala dwellers are planning a protest to bring attention to the state of Uganda’s roads. Their plans include fishing in larger potholes and signposting them ‘the Mayor’s lake’. Are potholes a problem in your country? Will you be launching similar demos? How do they effect your day? We’d really love to hear… your pothole stories, so send us your comments and remember to tell us which country you’re from!!!


BBC – Uganda protesters fish in potholes 

DAILY MONITORActivists celebrate National Pothole Day

The Daily TelegraphUgandans fish in potholes 

The East African – Uganda: Collect the Dog Tax or Else I’ll Fish in Your Potholes!

Rage Against Racism 


Some people talk about change, others dream about change, but we believe in action, not words.


Black Feminists announces an anti-racism rally, Rage Against Racism, at the Swedish Embassy in London on Tuesday May 1st at 4pm.

The rally is calling on the Government to commit to ending the racist misrepresentation and stereotyping of Black Women within the political, social and cultural dialogue of the UK. The protest is in part inspired by the racially charged, misogynistic cake created by Swedish artist Makode Aj Linde for World Art Day. The cake, which prompted laughter from spectators, has angered anti-racism campaigners around the world.


Sign & Share this Petition

The rally is calling on the Government to commit to ending the racist misrepresentation and stereotyping of Black Women within the political, social and cultural dialogue of the UK. The protest is in part inspired by the racially charged, misogynistic cake created by Swedish artist Makode Aj Linde for World Art Day. The cake, which prompted laughter from spectators, has angered anti-racism campaigners around the world.

fgmsignGeneral information

The feminist movement has been bringing attention to female genital cutting for decades; the women who experience FGM have been sharing their own experiences for decades too.

An Open Letter from African women to the Minister of Culture: The Venus Hottentot Cake

Sign Petition HERE

April 21 2012

We the undersigned women of African /African descent and  our supporters, which include anti-racist activists, scholars community leaders and Faith leaders wish to address the Swedish  Venus Hottentot Cake Incident.  First, we commend our Swedish friends and colleagues, and those from the African-Swedish Diaspora for their substantial contribution to anti-racist  mobilization and education through their various Policy Institutes and Research Programs, which have worked diligently to promote the interests of African Diaspora communities in Europe and Internationally.

The Issue At Hand

“Contemporary forms of oppression do not routinely force people to submit. Instead, they manufacture consent for domination so that we lose our ability to question and thus collude in our own subordination.”

-Patricia Hill-Collins, Black Feminist Scholar.

On Sunday, April 15th, at the  Moderna Museet the Swedish Artists Organisation celebrated World Art Day, as well as celebrating its own 75th birthday.  Lena Adelsohn-Liljeroth, the culture Minister, was Invited to speak and a number of artists were invited to create birthday cakes for the celebration. The Minister was  informed that the cake would be about the limits of provocative art, and about female genital mutilation. The event was launched with Lena Adelsohn-Liljeroth cutting the first piece of cake from a dark, ruby red velvet filling with black icing, which we understand was created by the Afro-Swedish artist Makode Aj Linde, whose head forms that of the black woman,  and is seen with a blackened face screaming with pain each time a guest cuts a slice from the cake. Rather disturbingly for many African women, the minister is pictured laughing as she cuts off the genital area (clitoris)from the metaphorical cake, as the  artist Makode screams distastefully.  The gaze of the predominantly white Swedish crowd is on Lijeroth who  is positioned  at the crotch end,  as they look on at their visibly ebullient culture minister with seemingly  nervous laughter as she becomes a part of the performance – a re-enactment of FGM  on a cake made in the image of a disembodied African woman.

tumblr_m2rs3yxJVf1rse1s9o1_500The pictures of the event that followed in the media and video footage can only be described  in the mildest of terms, as a very negative  racialised spectacle, that has infuriated many people.  As representatives of African women on the ground, we have the experiential privilege to convey to the Swedish Embassy’s Ministry of Culture the fury that we have seen, particularly from African women who are dismayed at the fact that this project which was supposed to bring awareness of the very painful and complex issue of genital cutting has ironically, had the complete opposite effect.The fact that the artist is black does not in any way diminish the gravity of this racially demeaning project. The black artist who created this may be accused of being a dim witted misogynist on the one hand or on the other, some sort of gnostic proponent of postmodern praxis, in relation to black identity and difference – that we just don’t get – but we do not believe, based on what we have seen and heard from the artists own explanations, that this so-called ‘provocative performance art’ stands up to the intellectual rigor  required of  literary and cultural critique.The work is definitely not empowering or transformative for women who are victims of FGM  in any shape or form, and the racial overtones of this project re-inscribe the exploitation and dehumanisation of black African women, which clearly cannot be denied.  The fact of Makode Linde’s blackness does not legitimize anything done here, and the message about the seriousness of FGM is completely subsumed  by the hideous medium through which it has been conveyed. One does not need to be subjected to the epistemic violence  underpinning the grotesque reconstruction of FGM,  in the form of a black woman having her clitoris cut off to the sound of  a laughing crowd with a fixed gaze,  drinks in hand, to raise awareness of this very serious issue. Perhaps some reflection is required on what this might be saying about the people who were participating, and  who saw nothing wrong in what will surely go down as a deeply disturbing episode and blight in Sweden’s history.

As the representatives of African women it is with grave concern that we express our extreme and utter dismay that the minister for culture, Lena Adelsohn-Liljeroth – someone who holds a position of great authority and power – would take part in what basically amounted to a humiliating and dehumanising racialised public spectacle of African women. We believe the naive re-enactment of this oppression and symbolic violence in the name of “raising awareness” shows a profound disconnection between the minister  for culture and the women who have to deal with FGM. Unfortunately, this serves to reinforce the huge chasm that exists between the cultural sensibilities of African women and western women [albeit not  always exclusively between these two categories, when the dynamics of difference is taken  into further consideration]. We do not in any shape or form subscribe to this sham, that is so widely described to as “women’s empowerment.”  In this sense we the undersigned believe that this project is no different from the” Hottentot Venus” Sara Baartman and other African women who were exhibited as freak show attractions in Europe in the 19th Century.Sara Baartman was tricked into going to Europe, where she and other African women were paraded naked in museums and public squares and gawked at by all and sundry, for their “huge buttocks and peculiar genitalia”. The objectification of African women’s bodies by the west is rife in the pornography industry and there at least one can argue that the women who participate do so willingly. However, when this happens in the context of a serious issue such as FGM and it is done in the name of “art”, we believe that there is a  need for a strong unequivocal response to challenge such derogatory and racist representations promulgated by so-called “provocative art”.

As such /We/African Women/African-Americans and many women of the African Diaspora the world over view this as an assault on our foremothers, sisters and our selves who have worked tirelesslly in different historical and cultural contexts to rid society of the sexist/racist vernacular  and stereotypes of black women as  sluts, jezebel, hottentot, mammy, mule, sapphire; to build our own sense of selves and redefine what women who look like us represent.

In this sense we completely reject the grotesque caricature of  the black African woman constructed by the artist Mokode Linde to re-enact FGM,  which displayed  no discernible cultural sensitivity towards those African girls/women  and girls/women generally who  are subjected to that experience. We in no way except this as a valid representation of the experiences of African women, but rather, we view it as a racialised slur and an attempt at erasure of all that we have struggled for historically in order to genuinely empower African women the world over.  We can learn from successful movements like the Civil Rights movement, from Women’s Suffrage, the Black Nationalist and Black Feminist movements that we can make change without resorting to the sort of  connivance outlined here between white female power and the  black male power that legitimized this gross act of cultural insensitivity and public humiliation towards African women in the form of what is now infamously known as the Venus Hottentot Cake.

The Artist and Ethics

Internalized racism has been one of the primary means by which we are constantly forced to perpetuate and collude in our own oppression and the oppression of others of our race. In the case of the “Venus Hottentot Cake”, equally devastating is that the artist Makode Aj Linde is Afro-Swedish. His own head adorned with long locks forms that of the naked Black woman in the cake, lying motionless on a table in a room surrounded by a laughing crowd. Not one Black woman, not one Black person in the room, except the artist and his cake. Makode Aj Linde is seen with a blackened face screaming with pain each time a Swedish guest cuts a slice from the cake. We are horrified as we try to make sense of this artist’s actions and we are perplexed by his explanation of the art as an awareness raising piece on the “practice of female genital mutilation” in certain African communities, or a practice that many African women’s rights defenders have come to rename female genital cutting (FGC).

The moment that cake was presented; the moment that cake was eaten; the moment that cake caused joy and excitement, re-opening the marvel that white Europeans felt at exploiting African women’s bodies—specifically, the sexualized celebration, the entrapment, the cutting of the genitalia of the Sara Baartman-like black body, the ethics of the artist comes into serious question, even if not the art itself, for the sake of “art”, for the sake of non-censorship. Racism was propped up in its ugliest form, facilitated by a Black artist and perpetuated on the representation of the body of a Black female.

No one, including the artist seems to have consulted Black African women at the forefront of the movement to end the practice of female genital cutting, often with little resources and in direct and dangerous conflict with their own communities. We echo Shailja Patel in stating: “What makes the cake episode so deeply offensive is the appropriation, by both artist and his audience, of African women’s bodies and experiences, while completely excluding real African women from the discourse. It is a pornography of violence.”

We disagree with the artist, that the various statements, comments, letters, and responses flooding the blogosphere represent “a shallow analysis of the work”, of his art. As he expresses that it is “sad if people feel offended”, we too are saddened by his lack of analysis and his acquiesce to racist and misogynist systems that not only serve to undermine the humanity of Black women, but also of Black men.


Ethics are defined as “a system of moral principles” which constantly factor into the choices we make, whether as artists or responsible governmental and/or institutional representatives. However, these decisions can become confused, making this system of principles seriously muddled and producing a blurry set of ethical guidelines, especially when competing priorities are at work—money and recognition vs. dignity and humanity. It is our personal opinion that this cake represents both ethical and moral violations not only in its presentation within the context of art, but within the department of cultural affairs sponsorship of it, regardless of country.

To the artist, by colluding in this or any level of oppression, and by providing the tool for the racialized, sexualized enjoyment of the visual body of a Black woman, by participating in the enticement of others to cut out and eat her cake vagina, which in the case of Sarah Baartman was first felt up, groped at, raped, looked at as a sexual enigma—is indeed an outrage.

Controversies and arguments abound as ethical decisions, or the lack thereof, play a role in institutional practice, in governmental practice—then you add the artist, as in this case, and you have a dangerous situation and a perpetuation on a global scale, another assault on Black women’s bodies. With the advent of technology today, our world is global. Technology allows us to see beyond our backyards. The world is watching as we still see layers of the objectification of black and indigenous peoples throughout the world, where institutions of cultural education reach their market by presenting dangerous ideologies of culture that objectify and exploit and dehumanize ethnic groups, such as Dr Kananazawa for his “Black Women Are Less Attractive” research. We are also fortunate, in the sense that we can use this same technology to respond and resist.

The fact that anthropologists, scientist, and other social scientist, educators and now this artist and the Swedish institution is being challenged around the world in outrage signals that, even through art, people want to be educated without harm, without violation, and without limitation.

What We Ask

We would welcome a meeting with the minister of culture, Lena Adelsohn-Liljeroth to discuss the implications of the event in its global reach for African women and the moral outrage it has caused. We would welcome the opportunity to engage in critical conversation with the artist Mokode Linde about the strategies he intends to employ for remaining accountable to black African communities in Sweden and further afield, he has indicated he will continue to represent in his art.

We would welcome a conversation about the work ahead in relation to reconciliation for those who have been affected and/or offended by the insensitive nature of the Venus Hottentot Cake event, particularly those who have experience of FGM. Finally, we the undersigned would welcome a sincere public apology that would demonstrate the issues we have outlined in this letter have undergone serious consideration by the minister of culture, followed up by a robust review and implementation of anti-racist policies  that impact the lives of African Swedes and those from African Diaspora communities in Europe and internationally.

It behooves each artist, or researcher, or activist, or educator, to be aware of their position and their privilege and power when communicating or producing what can then interpreted as some form of “reality” by those the product reaches. Conversely, it is the ethical job of the institution, in this case the department of cultural affairs in Sweden to use their monies to fund programming that educates without racism and exploitation. In addition, we believe it is also imperative that they work to redact and develop programs of reeducation to counter information promulgated throughout years and centuries, via exhibitions, world fairs, zoos, parks, and more, that have framed Black women continuously, as “lesser,” “inhumane,” “sexual creatures.”When the department of cultural affairs ate and laughed at the caricature body of Sara Baartman, the head of the department showed herself incompetent and incapable of morally and ethically making choices and incapable of running the department of cultural affairs in Sweden.


Dr Claudette Carr Director, Jethro Institute for Good Governance, BlackWomens Blueprint, Barbara Mhangami, Samantha Asumadu, Minna Salami

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