Call for Contributors

Written essays: Thoughtful, deeply reflective pieces that move beyond personal experience to extract a universal truth or make a broader social commentary (1000-2000 words max). Examples:

  • An essay exploring the emotional labour of code switching 

  • A reflection of finding “home” in the UK diaspora, examining how internet and global media have shaped a sense of belonging for a second generation 

  • An analysis of how immigration policy debates are affecting ESEA communities.

  • First-person narratives exploring activism, protest, or grassroots organising

  • Reflections on the 50th anniversary of the fall of Saigon.

Photographic essays: Visually rich narratives that tell a story through a sequence of high-quality, professional grade images. Ideally, a series of 8-12 photographs with minimal, impactful captions or a brief contextualisation statement. The series should capture a specific, nuanced, intimate aspect of ESEA life. Examples:

  • Unseen Labour: a portfolio capturing the reality of ESEA workers in under represented communities (e,g late night shift work, community care, catering, and manufacturing in the UK)

  • A visual commentary on ESEA’s families in the UK, celebrating joy and resilience

  • A series capturing intimate portraits of ESEA life across the UK.

Reviews: In depth cultural analyses of key literature, film, art or theatre released in the last 12 months. Reviews need to be critical, not promotional. They should contextualise the work within the ESEA landscape (1000 words max). Examples:

  • What does the success of KPop Demon Hunters mean to ESEA in the UK?

Reportage: Journalistic pieces that deeply investigate a trend movement, or event impacting the ESEA community, grounded in facts and interviews. Investigative or immersive pieces that go beyond the service (2000-3000 words max). Examples:

  • The rise of the far right in the UK and what it means for the ESEA community in the UK

Interviews: In-depth, thoughtfully curated conversations with a prominent or emerging ESEA figure focusing on their journey, craft and vision for the community. Interviews should reveal the subject’s philosophy and critical perspective, not just their biography. The interviewer’s voice and preparation should be evident (1000-2000 words max). Examples:

  • A dialogue with a British ESEA politician on policy and identity, going beyond their voting record to discuss the pressure of representation

  • A conversation with a ESEA artist on their work and philosophy

Short stories: Original, high quality fiction that explores ESEA experiences, perspectives or imaginations. Stories with strong voices, complex characters, and themes that resonate with our reader. We are open to a diverse range of genres, but the writing must be sharp and evocative (2500-4000 words max).

Poetry: Powerful poems from ESEA writers that use poems to explore complex themes of identity, diaspora and resilience.

Illustration: High-impact visual art that serves as a social commentary to the theme of the issue. Unique styles that can standalone or be paired with written content. Also will take a series of illustrations that capture a specific, nuanced, intimate aspect of ESEA life.

Critique & cultural analysis: The broadest category, allowing deep dives into culture, media and social phenomena that requires a longer, more structured argumentative essay. Pieces that utilise strong evidence and theory but remain accessible (1000-2000 words). Examples:

  • An analysis of how British television’s representation of ESEA characters has evolved from caricatures to complexity over the years.

  • The impact of globalisation of ESEA culture and the complicated line of cultural appreciation and appropriation when consumed by western audiences and the ESEA diaspora.

  • An analysis of how immigration policy debates are affecting ESEA communities.

Profiles: In-depth, narrative-driven features on an ESEA individual making a significant impact in their field, emphasizing their journey, challenges, and philosophy. Pieces that go beyond a simple biography. The profile should use narrative techniques to capture the subject's character, resilience, and unique perspective. They should illuminate the subject's work through the lens of their identity and experience in the UK. Long-form narrative journalism, usually accompanied by a dedicated, high-quality photoshoot (2500–3500 words). Examples:

  • A profile on an ESEA artist, activist, politician or person of interest whose work is shaping our society. 

Cooking features: To explore ESEA food culture and not just as recipes, but as history, memory and political identity. These should be visually stunning and conceptually thoughtful essays that use food as a central theme to discuss migration, family history and the politics of ingredients (1500-2000 words max). Feature should include 2-3 accompanying, tested recipes with high-end photography.

Roundtable discussions: To foster dynamic, unscripted conversations between 3-5 ESEA Voices on a complex timely topic. The discussion should surface various, sometimes conflicting perspectives. Edited transcripts of thoughtful, critical and sometimes challenging dialogues. These conversations should feel authentic and avoid the formality of a panel. They are meant to reveal the nuances and disagreements within the community (4000-5000 words max). Examples:

  • The price of visibility: When ESEA success goes mainstream? A discussion between a creative director, an activist, and a small business owner on the complicated feelings surrounding ESEA representation in high-profile arenas. Do mainstream successes benefit the whole community, or do they only serve to reinforce the "model minority" myth?

  • Bridging the Gap: Finding Common Ground in Inter-ESEA Politics: A conversation among individuals from different ESEA backgrounds (e.g., Filipino, Vietnamese, Hong Konger) about how to address historic tensions, find solidarity, and build a shared political agenda in the UK.