{"id":122653,"date":"2019-05-22T08:46:09","date_gmt":"2019-05-22T07:46:09","guid":{"rendered":"https:\/\/www.vuelio.com\/uk\/?p=122653"},"modified":"2019-05-22T08:46:09","modified_gmt":"2019-05-22T07:46:09","slug":"women-of-colour-two-time-emmy-winner-deeyah-khan","status":"publish","type":"post","link":"https:\/\/www.vuelio.com\/uk\/blog\/women-of-colour-two-time-emmy-winner-deeyah-khan\/","title":{"rendered":"Women of Colour: two-time Emmy winner Deeyah Khan"},"content":{"rendered":"

This week in our Women of Colour series, Vuelio media researcher and freelance journalist <\/strong>Maz Halima<\/a> caught up with filmmaker, publisher, two-time Emmy winner and <\/strong>Ted Talk speaker<\/a> Deeyah Khan. Deeyah\u2019s latest documentary White Right: Meeting the<\/em> Enemy<\/em> is currently available on Netflix. Here, she tells us about her filmmaking process, tips for success when creating uniquely captivating stories for the world of film and advice for anyone who wants to follow their dream. \u00a0<\/strong><\/p>\n

Hello Deeyah! For those who don\u2019t know, what do you do in the media industry?<\/strong><\/span>
\nI am a documentary filmmaker and the founder of Fuuse, which is an independent media and arts production company. I am also the founder of sister-hood magazine.<\/p>\n

My first documentary Banaz: A Love Story<\/em> addressed the difficult topic of \u2018honour\u2019-based violence and won an Emmy. My most recent, White Right: Meeting the Enemy<\/em> explored the rising far right in the United States, and it also won an Emmy.<\/p>\n

\"White<\/p>\n

These films and others were all produced through my media company Fuuse<\/a>. \u00a0The reason I started Fuuse is because I want to bring voices from the margins of the mainstream media into the heart of public discourse. I believe that only through creating more inclusive dialogue across and within cultures and communities can we hope to foster greater understanding. Only through fearlessly confronting complex, controversial topics can we hope to challenge prejudice.<\/p>\n

One of our Fuuse projects particularly close to my heart is Sister-hood \u2013 an online magazine for women of Muslim heritage which aims to break down negative stereotypes \u2013 we\u2019re not all suicide bombers, or victims of abuse. We all understand Islam in different ways. Some are deeply devout, others are very conservative, some are cultural Muslims, some are secular and liberal, and others aren\u2019t particularly religious. That\u2019s a diversity we don\u2019t always see in mainstream media and one which is extremely important to highlight.<\/p>\n

What struggles have you experienced in your journey to creating a successful media empire?<\/span> <\/strong>
\nAt first, there was a lack of confidence in me. I had clear ideas, but the executives would always want to put older white guys in charge to make sure I was doing things \u2018properly\u2019 \u2013 basically, the way they were used to doing them. I didn\u2019t want to compromise on my vision, so I set up my own media company. I filled it with people whose skills and personalities I know really well, and who I can rely on and trust completely. This gives me the support and freedom I need to work according to my own rules. The big media platforms were initially resistant to my style of working \u2013 but they can\u2019t argue with the results!<\/p>\n

On an everyday basis during my filming, I work on all aspects of the production of my films with my colleague and co-producer Darin. I couldn\u2019t do my work without his collaboration \u2013 we\u2019re practically joined at the hip. But my point is: he\u2019s a white guy, who\u2019s a bit older than me. Very few production companies are owned and headed by women in this field. If I had a pound for every time people assume he\u2019s in charge of me I\u2019d be rich. To Darin\u2019s credit, whenever executives address him instead of me he points to me and says, \u2018She\u2019s the boss. Talk to her.\u2019 The confusion \u2013 and sometimes disappointment \u2013 on people\u2019s faces is comical.<\/p>\n

\"Deeyah<\/p>\n

I have also been told to give my film projects to bigger production companies on several occasions, so that they can oversee and control the budgets and business aspects of the filmmaking. It\u2019s been suggested from time to time that I ought to give my films to more experienced directors. Because I have always refused this, and as a result I have been told many times that \u2018I am being difficult\u2019. Somehow, I never hear them saying the same thing about my male counterparts. The words used to describe the guys is that they are creative and visionary <\/em>\u2013 whereas I\u2019m difficult<\/em>.<\/p>\n

I have never wanted a career in the media industry as such. I don\u2019t want to be famous. I ended up in this field because I have an obsession with wanting to tell stories that interest me and working in a way that suits my personality and beliefs. I only work with my own team of people and I only make films about stories that I feel passionately about. It\u2019s all personal to me. I am not a \u2018gun for hire.\u2019 I don\u2019t take on projects that a broadcaster brings to me or make films for the sake of it. I only make my own films and I only make them through my company Fuuse with my colleagues. This was one of the reasons I started my company: to prove to myself that it is possible. I don\u2019t need to wait for anyone\u2019s permission to follow my own vision or do what I want to do.<\/p>\n

That is really inspiring. Can you tell us more on how you overcame your struggles and maintained your motivation to keep pushing forward?<\/span> <\/strong>
\nSetting up my own media company was key, as was hand-selecting my team. For me it\u2019s not just about what I make films about; the creative process has to be consistently facilitated, supported and respected as well. Ultimately, being willing to lose out on opportunities brings me a sense of freedom. I would rather turn down high-paying, high-profile projects than compromise on what I want to do. I have turned down several offers because I didn\u2019t feel passionately about the project or the people involved in it. I would rather eat every two days or get a second job and make the films I want to make than compromise my creative vision or my work process and philosophy.<\/p>\n

\"Deeyah<\/p>\n

It\u2019s a constant struggle to retain one\u2019s principles and values in the face of severe pressure from the industry itself, to follow the existing rules, structures and hierarchies. I believe positive change only happens when you stop waiting for permission and approval. Instead, it\u2019s important to be who you are regardless of how inconvenient that may end up being. If fair, creative, liberatory structures, organisations and platforms don\u2019t exist, then we have to build them. It\u2019s hard, but in the long run it\u2019s worth it. My career is proof of that.<\/p>\n

What did you not know when you first entered the filmmaking industry?<\/span> <\/strong>
\nI knew absolutely nothing when I started as a filmmaker. I didn\u2019t go to film school. I didn\u2019t know how to use a camera. I didn\u2019t know how to use editing software. I didn\u2019t have money or resources or contacts. All my practical skills come from the University of YouTube. So, that wasn\u2019t easy, learning all this stuff as I went along. But on the other hand, I think being a complete beginner actually helped me. My ignorance allowed me to be really creative and true to my own vision and ideas. I didn\u2019t know the rules, so I didn\u2019t realise when I was breaking them. I didn\u2019t pick up all of the norms and clich\u00e9s of how things are supposed to be done. I was following a story, not a stereotype of how documentary films should be made. And fortunately, the stories I\u2019ve told have been successful, which means I get to make more.<\/p>\n

\"Deeyah<\/p>\n

What should media professionals be doing to encourage the inclusion of people of colour in the industry?<\/strong> <\/span>
\nAlthough there has been a fair level of recruitment of people from ethnic minorities, it\u2019s still very difficult to climb the ladder to more influential roles. There needs to be an effort to identify and develop talent in minority populations \u2013 and ways for underprivileged people in general to get a leg-up in the industry. The media industry is often as middle class as it is white, and a lot of people of colour also come from working class backgrounds so they are disadvantaged in both ways. Either way, whether it\u2019s through class or race or both, as an industry, we\u2019re missing out on talent.<\/p>\n

What advice would you give to women of colour wanting to get into media?<\/strong><\/span>
\nFirst, you have to prepare for rejection. It\u2019s important not to let it define you, or to give up, but to allow rejection to teach you to find another way. If you have a vision then chase that, rather than money or fame or status: that\u2019s what will sustain you. That\u2019s all I started with, after all \u2013 a vision, a huge amount of willpower and an even larger amount of work. It is possible \u2013 and it is just as possible for you as it was for me.<\/p>\n

\"Deeyah<\/p>\n

Don\u2019t forget, the industry needs you. The world is waiting for the art that only you can create. Personally, I\u2019m excited to see what that will be. The industry might not realise it needs you yet, but you don\u2019t need their permission. If they aren\u2019t making space then just pull up a chair, sit down, and share your vision. It\u2019s not just for you: this is for every woman of colour, and for every other person who has had to struggle to get in the room.<\/p>\n

Real cultural change in the creative industries needs more than one or two women of colour here and there. We need to help each other out as much as possible. When you\u2019re in the room, you can leave the door open and invite other marginalised people in to join you.<\/p>\n

Deeyah Khan can be found on Twitter @Deeyah_Khan<\/a>. You can find out more about her documentaries by heading to the Fuuse website<\/a>, and visit Sister-hood magazine here<\/a>.\u00a0\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

We caught up with filmmaker, publisher, two-time Emmy winner and Ted Talk speaker Deeyah Khan.<\/p>\n","protected":false},"author":423,"featured_media":122661,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[7365,7272,1109],"tags":[],"_links":{"self":[{"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/posts\/122653"}],"collection":[{"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/users\/423"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/comments?post=122653"}],"version-history":[{"count":3,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/posts\/122653\/revisions"}],"predecessor-version":[{"id":122655,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/posts\/122653\/revisions\/122655"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/media\/122661"}],"wp:attachment":[{"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/media?parent=122653"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/categories?post=122653"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vuelio.com\/uk\/wp-json\/wp\/v2\/tags?post=122653"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}