Sajida Carr - always gets involved! Image by Paul Stringer

As we celebrate our 10-year anniversary, it’s the perfect time to reflect on the incredible journey so far. Over the past decade, Creative Black Country has championed creativity in communities across the region, making arts and culture accessible to all. But what has it been like behind the scenes?

Sajida at one of our Summer Celebration events. Image Kerry Ocoy.

We caught up with Sajida Carr, Director of Operations and Development, to look back on Creative Black Country’s proudest moments, unexpected surprises, and lessons learned along the way. From international collaborations to fashion shows that sparked confidence and creativity, Sajida shares the stories that have shaped Creative Black Country’s impact. Plus, she gives us a glimpse into the future—where big ideas, global connections, and even a dream collaboration could take the organisation to new heights.

Looking back over the past decade, what has been your proudest moment with Creative Black Country?

There are so many moments. As part of reflecting on the ten years, I scrolled through a social media platform and found a photograph of an elderly South Asian Muslim man at a Mela, enjoying ‘Zamana by Nutkhut’ in 2017. It was an outdoor performance in the air. That moment made me reflect on how arts and cultural organisations should go where local communities are. You would never expect to see such a diverse audience so deeply engaged with contemporary art in a traditional setting. That photograph captured the essence of what we strive to achieve at Creative Black Country—enabling creativity and culture within our communities and making it accessible to everyone.

Sajida being interviewed at the Girl Gaze exhibition in Chandigarh. Image by Kerry Ocoy

If you had to describe Creative Black Country’s impact in just three words, what would they be?

Transformative, Inclusive and fun!

You have worked on so many incredible projects if you could bring one back for a second run, which would it be and why?

It would have to be 100 Masters. This project celebrated local heroes and their contributions to our community. We uncovered so many inspiring stories with the help of our local communities and not only honoured these individuals but also strengthened community pride and cohesion.

What has been the most surprising or unexpected outcome of Creative Black Country’s work over the years?

Exploring international work has been an unexpected outcome. When we started, we did an international project thanks to a partnership with Multistory. This collaboration led to the creation of Girl Gaze (exhibition pictured above), an exchange programme for female photographers between India and the UK. This has enabled us to advocate for the Black Country and raise aspirations more locally. There are some natural synergies which could be realised even more with the diverse communities that reflect the Black Country. The potential for global and local connections is immense, especially in this digital era.

Sajida with Barbara Nice and the Funny Things producing team in Wolverhampton.

Creative projects often face challenges - what's one key obstacle Creative Black Country has had to overcome, and how did you tackle it?

One big challenge Creative Black Country has faced is covering the whole Black Country; which is a large area with four local authorities. Back in 2015 co-ordinating projects across such a wide region was tough, especially as we were a brand-new programme and with a new team in place. We needed time to build trust and understand what was important to local audiences. Initially, we piloted a few ideas and took our time to understand the Black Country narrative. During this settling period, our consortia partnership (who already had a track record in all four boroughs) supported us immensely. This support was crucial in helping us establish a strong foundation and effectively reach out to the community.

Can you share a funny or heartwarming behind-the-scenes moment from a Creative Black Country event or project?

One of the Creative Communities Seed Awards that stayed with me was about the idea of a Hijab and the intricate ways it is adorned and decorated. A group of women in Walsall decided to deliver a 'Hijabi Fashion Show' as part of the conclusion for the Seed Award. During the updates, I heard that the women's group travelled to Birmingham Museum and Art Gallery. This might sound ordinary, but it wasn't because most of the women had never travelled outside Walsall before. I've heard this on a few occasions about community groups not travelling outside their area. Travelling can be anxiety-inducing, so it was great that the women visited the gallery. For me, the icing on the cake was from the actual fashion show. The room was buzzing with entrepreneurial women selling cakes and goodies, and the wonderful atmosphere was perfect.

The Black Country is rich in culture and creativity - how have local communities shaped and influenced Creative Black Country's direction?

In lots of different ways... local communities are the heartbeat of our work, and it's why we also receive Creative People and Places funding. Their feedback, whether over a chat at our regular gatherings or through post-event evaluation forms, is invaluable. Our place-based advisers, who represent our local communities, act as the ears and eyes of the programme. Feedback from our partners and every conversation we have, shapes our projects, ensuring they are relevant and meaningful. Our quarterly team debriefs enable us to adapt and refine our approach based on this input. By prioritising listening to and collaborating with the community, we have been able to create projects that truly resonate and make a difference. This ongoing dialogue ensures that our work remains grounded in the needs and aspirations of the people we serve.

Sajida with Black Country author Miranda Dickinson and Project coordinator Rosalind Argo at the 100 Masters exhibition.

If Creative Black Country could collaborate with anyone (past or present, real or fictional), who would be your dream partner and why?

My dream partner would be Shuri, the younger sister of Black Panther. Shuri’s expertise in technology and science, along with her creative thinking, would bring a fresh and exciting perspective to our projects. Her ability to come up with innovative solutions would help us push the boundaries of what we can achieve. Additionally, her commitment to using technology for the greater good aligns perfectly with Creative Black Country’s mission to create positive change. Working with Shuri would not only inspire our team but also drive us to reach new heights in our work.

What's the biggest lesson you've learned in these 10 years, and how has it shaped Creative Black Country's approach to creative projects?

The biggest lesson I’ve learned over the past 10 years is the importance of being flexible and adaptable as our work can be complex with multi-layered projects and looking at ways they all thread together. It took me some time to accept that things can’t always go to plan. And the most valuable lessons come from failure. Embracing this has allowed us to be more open to unexpected outcomes, which often presents itself as an opportunity.

Another one for me is the importance of trust. While I always know trust is essential, there have been moments where it became clear just how vital it is. Trusting each other allows us to take risks, share ideas freely, and collaborate much better. This trust has become the foundation of our approach to creative projects, enabling us to work together seamlessly and achieve our goals.

Sajida with former Major of the West Midlands, Andy Street, and Funny Things Creative Producer Jenny Smith.

Looking ahead to the next 10 years, what are your hopes and dreams for Creative Black Country? Any big ideas in the pipeline?

I’d love to see the Black Country continue to grow as a beacon of creativity and community spirit on a local and global level.

We have done so many projects linked with Creative Communities which has increased creative confidence amongst local people. It would be wonderful to expand this on a much larger scale, building capacity among community groups to focus on what matters to them whether it's around Climate Action or celebrating local heritage. Perhaps an international Creative Communities exchange the way Creative Black Country enables creativity, from allotments to pubs to parks!

More generally cross-partner collaboration is something we really value within the programme. We are much more powerful when we work together, combining our strengths and resources. Strategic networks and partnerships will be key to ensuring we thrive as a cultural community.

Reflecting on a Decade of Creativity: A Q&A with Sajida Carr