Eastern Eye caught up with the cool British Asian creative, who has more projects on the way, including a spoken word album, to discuss her beautifully written book Honey Bee
By Mita MistryJul 07, 2023
SPOKEN word poet, author and podcaster Angela Rideau has used the power of words to form different connections with diverse audiences. She continued that creative journey with her debut poetry collection Honey Bee, which is a beautiful book that explores trauma, identity, growing up within the South-Asian diaspora, healing, and femininity.
Royalties from the thought-provoking book covering relatable themes are going towards Tommy’s, which is the largest UK pregnancy and baby loss charity. Eastern Eye caught up with the cool British Asian creative, who has more projects on the way, including a spoken word album, to discuss her beautifully written book and the themes it covers. She also gave advice for aspiring poets.
What inspired you to write a book of poetry that explores themes of heritage, hurting, resilience, and healing?
I wanted to take readers on a journey, so each chapter tells a different story, representing life stages, and exploring various taboos.
What role does poetry play in your life, and how does it help you to navigate complex emotions and experiences?
Poetry is meditation and a cathartic release. It gives me the freedom to step into areas of my life, where I can connect with myself in my purest element.
In your book, you mention trying to decolonise your thoughts and heart from coercive frameworks. Can you explain what this means?
Certain cultural norms have dominated our thoughts and behaviour patterns and have been inherited without question. This is about empowering people to challenge and reshape the narrative and check our unconscious biases, particularly on topics such as gender equality, caste systems and our relationship with beauty standards and where they come from. It is ultimately about healing scars carried over from generation to generation to question ‘What kind of world do we want to leave behind?’.
Your book covers taboo topics such as body image, trauma, abuse, caste. Was it difficult to write about these topics and how did you approach them?
Sharing puts you in a vulnerable place, and can be a source of shame, especially in South Asian communities. But my thinking was that shame isolates you and only empowers the abuser or the dominant hierarchical systems. These conversations are bigger than any individual, and while difficult to discuss, bringing the footnotes to the forefront starts a dialogue about how we can educate to collectively create change.
How did your upbringing as a brown girl in the South Asian diaspora shape your perspective and influence as a writer?
In Indian literature and mythology, I saw women depicted as powerful goddesses, but soon realised that there was a disparity in how women are portrayed in everyday life. My poetry references powerful Hindu goddesses that are celebrated for being fierce and I see this as a standard of strength to aspire towards. Sisterhood and feminism are strong themes in my book, so this shaped my writing and influenced the title Honeybee, as honeybees work collectively in a colony.
Are there any poems in Honeybee that were especially difficult or meaningful to write?
There are many controversial topics throughout the book. Each poem was a part of my soul that I shared because they are my true experiences, be it about domestic violence, abuse, trauma, and loss. It felt like ripping a band-aid off the parts of our culture that we are too shy to address.
the cover of her book
How do you hope readers will connect with and be impacted by the poems in Honeybee?
I hope they find hope and empathy in my words. I hope it will empower them to start conversations.
What message do you hope to convey to readers about the importance of exploring and celebrating cultural heritage?
Find elements in your culture to celebrate - even in the smallest elements. Celebrate differences because our differences are what make us unique. There is no shame in being different.
Tell us about the themes of resilience and healing in your poetry, and how it might offer hope to readers struggling with their own challenges?
We are all energy; we love and carry pain. But it is up to us to decide what to do with that pain - explode like a bomb and destroy everything or light up the sky like fireworks, spreading joy. I did this when I shared my first poem about the pain of baby loss during lockdown. My experiences have taught me how to seek out the light and that is my message in this book. A hope to change that energy and pain into something positive.
How do you approach crafting a poem?
I don’t have a particular technique or rules I stick to and am still learning. My poetry is very visual but as a spoken word poet, I do perform my poetry aloud and change it from ‘for the page’ to ‘for the stage’.
What advice would you give to aspiring poets?
Once you’ve found your voice - find your tribe. Listen to, learn from, and seek help from other creatives. Most importantly, ‘stand in your truth’.
What are the challenges you faced in publishing Honeybee and how did you overcome them?
For someone new to the publishing world, the learning curve was steep. Imposter syndrome sets in, but you can’t always aim for perfection as it can cripple creativity. Also, I wanted to provide illustrations that capture the essence of my poetry authentically and in doing so I was lucky to work with an Indian graphic designer who is also a poet.
Royalties for Honeybee will go to Tommy’s, what does it mean to you to support the charity?
I would like to support their work in campaigning, educating, and helping families going through baby loss. This is my way of contributing to say I see you and I thank you.
Are there any other projects you are currently working on that you would like to share with our readers?
I'm working on a Spoken Word Poetry album which fuses beautiful eastern instruments with poetry.
Fragments of Belonging is Nitin Ganatra’s first solo exhibition
Opens Saturday, September 27, at London Art Exchange in Soho Square
Show explores themes of memory, displacement, identity, and reinvention
Runs from 3:30 PM to 9:00 PM, doors open at 3:15 PM
From screen to canvas
Actor Nitin Ganatra, known for his roles in EastEnders, Bride & Prejudice, and Charlie and the Chocolate Factory, is embarking on a new artistic chapter with his debut solo exhibition.
Titled Fragments of Belonging, the show marks his transition from performance to painting, presenting a deeply personal series of works at the London Art Exchange in Soho Square on September 27.
Exploring memory and identity
Through abstract forms, bold colour, and layered compositions, Ganatra’s paintings reflect themes of memory, displacement, and cultural inheritance. The exhibition has been described as a “visual diary,” with each piece representing fragments of lived experience shaped by migration and reinvention.
What visitors can expect
The exhibition will showcase original paintings alongside Ganatra’s personal reflections on identity and belonging. The London Art Exchange promises an intimate setting in the heart of Soho, where visitors can engage with the artist’s work and connect with fellow creatives, collectors, and fans.
The event runs from 3:30 PM to 9:00 PM on September 27, and is open to all ages.
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£1 tickets available for families receiving Universal Credit
The Peter Rabbit™ Adventure runs at Hampton Court Palace from 25 July to 7 September 2025
Trail includes interactive games, riddles and character encounters across the gardens
Children can meet a larger-than-life Peter Rabbit in the Kitchen Garden
Special themed menu items available at the Tiltyard Café
£1 tickets available for families receiving Universal Credit and other benefits
Peter Rabbit comes to life at Hampton Court
This summer, families visiting Hampton Court Palace can step into the world of Beatrix Potter as The Peter Rabbit™ Adventure takes over the palace gardens from 25 July to 7 September 2025.
Explore the Kitchen Garden, Tiltyard and WildernessHRP
The family trail, officially licensed by Penguin Ventures on behalf of Frederick Warne & Co., combines the palace’s historic gardens with the much-loved tales of Beatrix Potter. Visitors will encounter interactive activities, puzzles and games while exploring the Kitchen Garden, Tiltyard and Wilderness.
Interactive activities and wildlife learning
Along the trail, children can try Mrs Tiggy-winkle’s washing equipment to make music, search for Peter Rabbit under wheelbarrows, or test their hopping skills alongside Beatrix Potter’s characters.
The experience also highlights Potter’s role as a committed environmentalist. Young visitors are encouraged to look for real wildlife such as hedgehogs, squirrels and toads while learning about habitats and conservation in the palace grounds.
Children can meet a larger-than-life Peter Rabbit HRP
Meet Peter Rabbit and enjoy themed treats
Peter Rabbit himself will make appearances in the Kitchen Garden at set times each day, where families can take photos among the seasonal produce. Fresh fruit and vegetables grown in the gardens will feature in special Peter Rabbit™ menu items at the Tiltyard Café.
After completing the trail, children can also explore the Magic Garden playground or visit Henry VIII’s Kitchens inside the palace, where live cookery demonstrations take place each weekend.
Tickets and access
The Peter Rabbit™ Adventure is included in general admission:
Off-peak (weekdays and bank holidays): Adults £27.20, Children (5–15) £13.60, Concessions £21.80
Peak (weekends and events): Adults £30.00, Children £15.00, Concessions £24.00
HRP Members go free
Families in receipt of Universal Credit and other means-tested benefits can access £1 tickets throughout the summer (advance booking required).
Membership offers unlimited visits to Hampton Court Palace and other Historic Royal Palaces sites, including seasonal events such as the Hampton Court Palace Food Festival and Henry VIII’s Joust.
For more details and booking, visit
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The former Match of the Day presenter was voted best TV presenter by viewers at the ceremony on Wednesday
Gary Lineker named best TV presenter, breaking Ant and Dec’s 23-year run
Former Match of the Day host left BBC after social media controversies
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Gavin & Stacey takes home the comedy award
I’m a Celebrity wins in the reality competition category
Lineker takes presenter prize after BBC departure
Gary Lineker has ended Ant and Dec’s record 23-year winning streak at the National Television Awards (NTAs). The former Match of the Day presenter was voted best TV presenter by viewers at the ceremony on Wednesday.
Lineker stepped down from Match of the Day in May after 26 years, following controversy around his social media posts. Accepting the award, he thanked colleagues and said the prize showed “it is OK to use your platform to speak up on behalf of those who have no voice.” He added: “It’s not lost on me why I might have won this award.”
Asked if he might work with the BBC again, Lineker said he was uncertain but was “really looking forward to working with ITV.”
The last winner before Ant and Dec’s run was Michael Barrymore in 2000.
Netflix drama Adolescence scores double win
Netflix’s hit drama Adolescence won best new drama and best drama performance for 15-year-old Owen Cooper. The show, which follows the story of a teenage boy accused of murder, became a national talking point earlier this year.
Cooper beat fellow nominee Stephen Graham, who plays his on-screen father, though neither attended the event.
Gavin & Stacey named best comedy
Gavin & Stacey’s Christmas finale, watched by more than 20 million viewers, was named best comedy. Ruth Jones, who plays Nessa, accepted the award and joked: “Alright, calm down. I’m going to the bar now for a pint of wine.”
Backstage, Jones paid tribute to co-writer and co-star James Corden, who could not attend, and addressed reports of a new Apple TV+ project, saying nothing had yet been confirmed.
I’m a Celebrity beats The Traitors
In the reality competition category, I’m a Celebrity… Get Me Out of Here! triumphed over The Traitors, Love Island, and Race Across the World. Presenters including Coleen Rooney and Oti Mabuse collected the award.
Other winners of the night
Michael McIntyre’s Big Show won the Bruce Forsyth Entertainment Award
Molly-Mae Hague’s Behind It All won best authored documentary
Wallace & Gromit received a special recognition award
Gogglebox won factual entertainment, while Call the Midwife secured returning drama
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UN human rights office urges India to drop cases against Arundhati Roy
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Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
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As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.