"Samuel had gifted Avril with a sense of belonging in the world, and she took that to heart – for better and for worse. She could have made life easier for herself in South Africa by concealing her own African heritage and the Coleridge-Taylor name. But she embraced all that she was, and this extended to her music." Read more about Dr. Ege's experience of playing Coleridge-Taylor's music in The Guardian

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"She had a distinctive musical voice – eloquent, assured, and deeply personal. Together, her orchestral works stand as a powerful testament to her creativity and resilience, illuminating the experiences of a woman of colour in twentieth-century Britain." Learn more about Coleridge-Taylor's musical style through Dr. Ege's collaborative recording initiative Unheard Heritage

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"It’s a tangled, unmistakably British history of belonging, exclusion, compromise and resilience — a history that is conveniently smoothed out when stories like Avril’s aren’t told. But Avril’s afterlife is only just beginning to take shape." Read more about Coleridge-Taylor's legacy in Dr. Ege's co-authored article for Prospect Magazine

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"As the daughter of the mixed race Black British composer Samuel Coleridge-Taylor and the white British singer Jessie Walmisley, Coleridge-Taylor had been naive to think that she might leave South Africa’s embattled social landscape unscathed. She had always seen herself as British first and foremost. But in South Africa, for the first time she had had to choose whether she was Black or white. Up until then, she had always been both." Read more about Coleridge-Taylor's time in apartheid South Africa in Dr. Ege's co-authored article for the New Statesman​​​​​​