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Culture

Holiday Traditions: A Regional Showcase Around the African Continent

Holiday traditions around central, west, eastern, and southern African take many diverse and unique forms. In Benin, the Igue Festival, is cited as having been celebrated for more than 1,000 years. This festival, begun by Oba Ewuare I, is celebrate by the Edo people of Benin. The symbolism of the celebration represents thanksgiving for blessings at the close of a favorable year, with participants giving thanks to the Creator. Igue is celebrated in the last weeks of December and is unique in that it is celebrated as a set of multiple ceremonies for 11 days. These ceremonies are Otue-Ugierhoba, Ugie-Erhoba, Iron, Otue-Iguoba, Igue-Inene, Emobo, Iguivioba, Igue-Edohia, and Ugieewere. The Igue Festival is celebrated with many artistic elements, such as dance, music and song, incantations, magic, recitals, and chants. Each day of celebration, the festival is foreshadowed by the presence of the royal jester, the Akharowan. This historical figure is often seen wearing a white cap with a handbag. The Igue Festival is a powerful statement of culture and tradition, not only due to the many years it has been celebrated, but also its historical significance. In previous historical periods, the festival was originally celebrated by the Oba and his subjects in the Benin Kingdom and continues in our contemporary moment. In South Africa, families come together to exchange gifts and hang stockings. At first glance, this Christmas tradition has much in common Christmas traditions in the U.S. What is unique, however, is the name given to Santa Claus, and the delicious foods eaten on Christmas day. Santa Clause is known as Sinterklaas or Kersvader in Afrikaans, and the foods prepared on Christmas Day may consist of roasted turkey, duck, beef with yellow rice and raisins, or vegetables. These foods are eaten along with savory desserts such as Malva pudding. If you celebrate Christmas, you can check out the different and interesting ways to say Merry Christmas and Happy New Year in Zulu, Xhosa, and Sotho! Zulu ‘UKhisimusi omuhle, uJabulela unyaka omusha’ Xhosa ‘Krismesi emnandi, Nyak’omtsha’ Sotho ‘Le be le keresemese e monate, Mahlohonolo a selemo se secha’ Similar to Christmas celebrations in South Africa, families in Namibia celebrate the holiday by preparing large feasts. These dinners contain meats such as beef, lamb, and game that is often cooked on the braai or barbecue. Desserts that can be found at Namibian Christmas dinners consist of melktert (milk tart), and koeksisters (syrupy twisted doughnuts). On Christmas day, many Namibian people attend church services, marking the spiritual significance of the holiday. It is also common for families to gather on this day for a special meal, often featuring the braai meat mentioned above. In the capital of Windhoek, the city is said to sparkle with sparkling lights and vibrant Christmas decorations. Uganda, like South Africa, has another word you can add to your Christmas vocabulary. In Uganda, Christmas is termed Sekukkulu, and is about people returning home to their families and communities. Returnees eat food, spend quality time together, enjoy music, and play games. Sekukkulu is celebrated on December 25th and is a large event. During Christmas, city authorities arrange for large trees to be like, and Christian choirs sing carols. If you happen to be visiting Uganda in December you can hear the carolers and people wishing each other Sekukkulu Enugi, which has a similar meaning to Merry Christmas. For our last country, we will showcase Ethiopia, which is distinct in its cultural traditions. Ledet or Genna, as Christmas is referred to in the county, is celebrated on January 7th on the Gregorian calendar. The holiday may also be celebrated on the 29th of Tahsas, on the Ethiopian calendar. Before Christmas Day, practitioners participate a 43-day fast known as Tsome Nebiyat, or the Fast of the Prophets. During Christmas festivities, a traditional thin, white cotton garment with brightly colored stripes, called a Netela, is worn. On Christmas Eve, or the gahad of Christmas, Ethiopian people may attend overnight mass, beginning around 6pm and ending at 3am. Together, the above countries illustrate diversity on the continent. Additionally, these traditions represent the diversity of holidays, and how they are celebrated. Written by Jasmine Hoeffner Research & Editorial Intern

January 2, 2025

Culture

More than an aesthetic, Afrofuturism represents revolutionary optimism

In a world where existence itself is an act of resistance, Afrofuturism emerges as a vision for a future shaped by hope and the struggles of the African diaspora. More than an aesthetic, Afrofuturism represents revolutionary optimism—a reimagining of the future through a distinctly African lens, blending techno-culture with elements of science fiction. At its core, Black speculative thought anchors Afrofuturism, serving as both its foundation and its essence. Science fiction becomes a fitting vessel for Afrofuturism, reflecting the experiences of a diaspora denied its identity. The archetype of “the stranger in a strange land” mirrors the reality of those cut off from their histories, determined to forge a future of their own making. The cultural and artistic impact of Black Panther (2018) as an Afrofuturist milestone cannot be overstated. Directed by Ryan Coogler, the Marvel blockbuster became a global phenomenon, grossing over $1.3 billion and resonating deeply with audiences, particularly within the African and African diaspora communities. The film’s setting, Wakanda, represents a vision of uncolonized Africa: a technologically advanced, self-sustaining society rich in cultural heritage and innovation. While Black Panther stands as one of the most prominent modern examples, Afrofuturism is not confined to technocratic narratives. Pioneers like the Sun Ra Arkestra infused it into jazz, delivering theatrically adorned performances and groundbreaking compositions that redefined the genre. Other examples of afrofuturism in music includes Parliament Funkadelic and their Holy Mothership, Dr. Dre, and Janelle Monáe. There are countless examples of Afrofuturism in literature, with Tomi Adeyemi’s Children of Blood and Bone standing out as a powerful contribution. Adeyemi was inspired by the sacred and vivid depictions of African gods and goddesses and sought to create a story rooted in West African heritage while addressing contemporary issues like police brutality. In her author’s note, she writes: In “But if this story affected you in any way, all I ask is that you don’t let it stop within the pages of this text. If you cried for Zulaikha and Salim, cry for innocent children like Jordan Edwards, Tamir Rice, and Aiyana Stanley-Jones. They were fifteen, twelve, and seven when they were shot and killed by police.” Earlier works also paved the way for the genre. Pauline Hopkins’ Of One Blood (1902) is a groundbreaking story that challenges the separation of races, often cited as one of the earliest examples of Black internationalism. Rivers Solomon’s An Unkindness of Ghosts explores structural racism aboard a generation ship where marginalized People of Color live under systemic oppression. Octavia E. Butler, a foundational figure in speculative fiction, used her works to address contemporary African-American issues through the lens of 20th-century technoculture. Ytasha Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture says “In Afrofuturism, time is treated as nonlinear, so it becomes a healthy way to explore histories, futures, and resilience.” She also emphasizes the role of pop culture, like fiction and literature, work as a lens for understanding the past and the present, making Afrofuturism all the more essential in a fight for liberation and understanding. While Afrofuturism often imagines bold futures, retro Afrofuturism offers a powerful way to reimagine the past. By recreating histories through a liberatory lens, it transcends temporal boundaries. The Before Yesterday We Could Fly exhibit at the MET, for instance, envisions a preserved Seneca Village—a thriving African-American community that was erased—reclaiming what could have been to inspire what could still be. Speculative fiction within Afrofuturism is deeply interconnected with historical and cultural legacies. Harriet Tubman, often described as an Afrofuturist icon, envisioned a future of liberation for the oppressed and turned those dreams into transformative action. Afrofuturism challenges us to dream of freedom and liberation as the first steps toward creating lasting change. More than ever, this genre deserves to be uplifted, especially in spaces where its presence has been overlooked. Afrofuturism challenges us to think beyond boundaries—of time, place, and oppression—and centers Black voices in the creation of worlds that are just, imaginative, and free. In the fight for liberation, its stories remind us of the importance of dreaming boldly, especially in spaces where its presence is most needed. For the African diaspora, Afrofuturism is more than a genre; it is a blueprint for empowerment. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok Images by Shem Obara Written by Abigail Tan

December 4, 2024

Culture

From Runways to Realities: Two African Models Share It All

In this month’s episode of African Creative Stories, we had the pleasure of interviewing two incredible models: Jesujoba Isaac (AWE) from Nigeria and Lelam Nombewu from South Africa. They shared their experiences about the realities of being a model in Africa and offered insights on how the industry can improve. We hope you enjoy this episode as much as we did! In conversation with the first model What’s your name, and which country do you reside in? My name is Jesujoba Isaac, AWE. I currently reside in Lagos, Nigeria where I work as a model and performance poet. What’s your fondest memory as a model? I now have quite a few memories; working with one of the best photographers in Lagos, walking the runway at Lagos Fashion Week and featuring on the GTCO Fashion Weekend campaign. It’s been such a ride, and a long time coming. What improvements do you think the modeling industry in Africa needs? I honestly feel that there have been too many rejections, even when a model practically meets the criteria for a shoot or fashion show. It’s too political, which makes it difficult for the new generation of models to thrive. From my personal experience, it’s a painful process fighting your way to the top. I don’t think there should be any boxes whatsoever—there’s room for everybody.. In conversation with the second model What’s your name, and which country do you reside in? My name is Lelam Nombewu, and I’m from Cape Town, South Africa, where I still reside. What’s your fondest memory as a model? One of my fondest memories as a model was working with Michael Ludwig Studios. The experience was incredibly special to me because it wasn’t just about the work, it was about the lessons I learned from Michael. Their patience, willingness to teach without criticism, and dedication to their craft were things that left a lasting impact on me. It taught me so much about the industry and, more importantly, about myself. What improvements do you think the modeling industry in Africa needs? When it comes to the African modeling industry, I believe there is a pressing need for greater diversity and representation. While there has been a growing focus on African beauty, a significant gap remains in representing the full spectrum of our continent’s diversity. From different cultures, body types, and skin tones, Africa has so much more to offer than what is typically portrayed in the media. People often hold a narrow view of what an African model should look like, but the reality is that we come from a rich variety of backgrounds, and this diversity deserves to be celebrated. Furthermore, I believe Africa needs to invest more in talent development. We have incredible potential, but it often goes unrecognized due to a lack of platforms to showcase and nurture this talent. Many aspiring models struggle to access proper training, mentorship, and professional development opportunities. With more resources, workshops, and agencies dedicated to guiding and uplifting young talent, we could build a more professional and sustainable modeling industry. Thank you for joining us on this episode ofAfrican Creative Stories. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok

December 4, 2024

Editorials

Founder’s Story with Hertunba

Fashion in Africa is experiencing a remarkable evolution, led by visionaries who are not only redefining style but also celebrating cultural roots. Among these trailblazers is Florentina Agu, the dynamic founder of Hertunba. Her journey blends deep respect for indigenous craftsmanship with a fresh, modern approach, creating a unique narrative that captivates audiences both locally and globally. During a sit-down conversation with our CEO and founder, Isha Gaye, Florentina shared her unwavering commitment to sustainability, the crucial role local artisans play in her work, and her ambitious vision for a future where fashion honors both tradition and innovation. Her insights reflect a deep understanding of the impact of fashion on culture and the environment, highlighting the importance of preserving heritage while embracing modernity. About Florentina’s Journey Florentina’s journey into the world of fashion was not an accident; it was a calling. Growing up in a Nigerian household, she was deeply influenced by the artistic expressions surrounding her. She fondly recalls, “As a child, I would watch my grandmother weave intricate designs, and that memory is still alive in my mind.” Her grandmother’s artistry laid the foundation for Florentina’s appreciation of traditional craftsmanship, which she later aimed to elevate through her own work. While pursuing her education at the University of Lagos, Florentina was struck by the stark contrast of beauty and struggle in her surroundings. “There were moments when I would see gas flares in the distance, and it would remind me of the duality of our existence—beauty intertwined with hardship,” she reflects. This juxtaposition fueled her desire to create a fashion brand that not only celebrated the aesthetic beauty of Nigeria but also addressed the social issues facing her community. Sustainability: More than just a trend In recent years, sustainability has become a prominent buzzword in the fashion industry, often used without genuine commitment, but for Florentina, it is a necessity driven by her cultural context. “We are often left with a surplus of textiles dumped in our communities. It’s a question of what to do with it—do we contribute to pollution, or do we upcycle?” This dilemma led to her commitment to upcycling, a practice ingrained in many African households where resourcefulness is key. “Wearing a dress in my family means passing it down,” she explains. “I have three younger sisters and ten younger cousins who are all waiting for my clothes.” This spirit of upcycling, she believes, is not just about aesthetics; it’s about preserving the environment and creating a sustainable cycle of fashion. While exploring natural fibers remains important, Florentina insists, “We cannot be elitist about the fabrics that have been dumped on us. We have to make something beautiful out of what we have.” A cornerstone of Hertunba’s philosophy is the empowerment of local artisans. Florentina emphasizes, “Creativity in Africa is not a choice; it’s a matter of survival. People need to eat.” Ensuring fair compensation for artisans is paramount to her mission. “If an artisan charges me $100 to create a piece, I pay them that amount without negotiation.” Florentina’s commitment to fair wages extends to her in-house tailors, who receive a commission based on the outfits they create. “Last month, one of my tailors bought land,” she shares, a proud testament to how fair pay can have a profound impact on lives. For Florentina, the goal is to bring prestige back to craftsmanship, making the profession attractive to the younger generation. “I want people to say, ‘I want to be a tailor,’” she asserts. Tale as old as time As Hertunba flourishes, Florentina envisions a future where indigenous Nigerian weaving techniques are respected and celebrated on the global stage. “We are on the same level as renowned textile makers from around the world,” she asserts confidently. With a keen eye for talent, she aims to elevate the narrative around Nigerian craftsmanship, paving the way for its recognition beyond borders. The success of Hertunba has sparked inspiration in others, with competitors drawing from her designs and storytelling. While imitation can be painful, Florentina views it as an indication of impact. “We are making waves, and people are beginning to pay attention,” she observes. Hertunba’s designs are a reflection of Florentina’s journey, where tradition meets modernity. “I constantly look to the women before me—my aunties and grandmothers—who wore their culture with pride,” she explains. By marrying historical influences with contemporary fashion, Florentina creates pieces that are both wearable and meaningful. “It’s important that our pieces resonate with today’s woman, whether she’s attending a board meeting or a social gathering.” New Project Her latest collection, “The Women Before Us,” pays homage to the regal aesthetic of past generations while making it accessible for the modern wardrobe. Florentina’s designs are about celebrating beauty in all forms, aiming to combat body dysmorphia and promote inclusivity. “I want every woman to know she is strikingly stunning in her own way,” she affirms. Florentina also believes in the importance of storytelling in fashion. “Every piece we create has a story behind it—whether it’s inspired by my grandmother’s weaving techniques or a specific cultural motif,” she notes. This narrative-driven approach not only adds depth to her collections but also fosters a connection with her customers. Florentina emphasizes the significance of educating consumers about the cultural heritage embedded in each design, reinforcing the value of authenticity in the fashion industry. “Fashion should not just be about trends,” she insists. “It should reflect our stories, our journeys, and our identities.” By weaving these elements into her work, Florentina hopes to inspire others to embrace their roots and appreciate the artistry that defines their culture. Like any entrepreneurial journey, Florentina’s path has been fraught with challenges. From managing a burgeoning business from her home to finding the right talent to build her team, the road has not always been easy. “There were days I cried, questioning if I should take an easier path,” she admits. Yet, her resilience, rooted in her Benin upbringing, kept her moving forward. She also acknowledges the need to

October 28, 2024

Beauty/Fashion

Founder’s Story with BALGA DESIGN

Balga Design is more than just a footwear brand; it’s a bridge between the past and the present, between tradition and modernity – Safa Boudokhane In this episode of Founder’s Story, we had the exciting opportunity to sit down with the brilliant Safa Boudokhane, founder of Balga Design. She shared her inspiring journey as a Tunisian footwear designer, from her early beginnings to where she is today. It’s a story you want to know about—enjoy the read! Please introduce yourself: Hello! My name is Safa Boudokhane, and I am from Tunisia, currently residing in Montreal, Canada. I am the founder and CEO of Balga Design, a footwear brand that draws inspiration from my Tunisian roots. We specialize in creating handcrafted shoes that revisit the traditional balgha, an essential element of Tunisian heritage. What does “Balga” mean and why the name? The word balga refers to a traditional, backless slipper worn in Tunisia, typically made from leather.It is a symbol of Tunisian craftsmanship and culture. I chose this name because it perfectly encapsulates the essence of my brand: a connection to our roots, combined with modern design and artistry. By naming the brand Balga, I aim to preserve and evolve this ancient footwear tradition, allowing it to find a place in today’s fashion world. How did your fashion journey begin? My fashion journey started with a deep passion for design and a profound respect for cultural heritage. As an interior designer, I had always been drawn to artistry and craftsmanship. Over time, I realized that the same values could be applied to fashion, specifically footwear, which led me to create a brand that represents both my cultural background and my creative vision. I wanted to offer something unique, bridging tradition with modernity, and that’s how Balga Design was born. Why did you choose to integrate Tunisian culture into your brand? For me, integrating Tunisian culture into my brand was a natural choice. Tunisia has a rich heritage of craftsmanship, particularly in embroidery, leatherwork, and textiles. I wanted to highlight these traditions, many of which are at risk of being lost, and show how they can be reimagined for contemporary fashion. By blending Tunisian embroidery techniques, like cannetille, with modern designs, I aim to bring a piece of Tunisia to a global audience. How do you collaborate with local artisans to maintain cultural authenticity? Collaboration with local artisans is at the heart of Balga Design. I work closely with skilled craftspeople who specialize in traditional embroidery, leatherwork, and other artisanal techniques. These artisans have inherited centuries-old skills, and by working together, we ensure that every piece we create maintains cultural authenticity while also pushing the boundaries of design. It’s a partnership built on mutual respect, with a shared goal of preserving and promoting Tunisian craftsmanship. Could you elaborate on the stories or narratives behind your collection – The Dance of Water? The collection The Dance of Water is inspired by the importance of water in Tunisia, not only as a life source but also as a symbol of flow, fluidity, and movement. Water has played a central role in shaping Tunisian culture, from the ancient Roman aqueducts to the Mediterranean coastlines. Each piece in the collection reflects the flowing, organic shapes and patterns found in nature, while the intricate embroidery represents the ripples and reflections of water. The collection is a tribute to the grace and power of water, both as an element and as a symbol of life. What is your favorite piece from the collection? My favorite piece from the collection is the Ocean sandals. This design is inspired by the vastness and serenity of the sea, with flowing, wave-like patterns that evoke the movement of water. The deep blue tones and intricate cannetille embroidery reflect the beauty and mystery of the ocean. These sandals symbolize tranquility and depth, making them both visually stunning and deeply meaningful to me. What’s your favorite thing about being a footwear designer? My favorite thing about being a footwear designer is the ability to blend art, culture, and functionality. Footwear isn’t just about aesthetics; it’s about creating something that people can wear and experience in their daily lives. I love the challenge of combining the beauty of traditional craftsmanship with the practicality and comfort of modern shoes. Designing footwear allows me to express my creativity while also preserving a piece of my heritage. What are the obstacles you face as a designer building a footwear brand? One of the biggest challenges is maintaining the balance between tradition and innovation. It’s important for me to stay true to the heritage elements of the brand, but at the same time, I have to adapt to the ever-changing fashion industry. Sourcing high-quality materials and finding skilled artisans who understand the intricate techniques we use can also be difficult. Additionally, as a new brand, building awareness and gaining a foothold in the market takes time and effort, especially in a competitive field like footwear design. What’s something you wish you knew when you were just starting out in your career? I wish I had known how essential patience and resilience are in this industry. Building a brand, especially one that involves traditional craftsmanship, takes time. There are no shortcuts when it comes to quality and authenticity. If I had realized earlier that success isn’t immediate and that the process itself is rewarding, I might have embraced the challenges with less frustration and more excitement. What would you like to add that has not been mentioned? Balga Design is more than just a footwear brand; it’s a bridge between the past and the present, between tradition and modernity. I am deeply committed to preserving the cultural heritage of Tunisia through my designs, while also introducing this rich artistry to the world. It’s a journey of passion, creativity, and respect for craftsmanship, and

October 24, 2024

From Congo to Palestine, to the World: The Interconnected Fight for Liberation

The global genocide and exploitation of Congo dates back to the 16th century following the pillaging of Congo’s natural resources for colonial interests, and the brutalization of the Congolese people’s bodies, villages, women, and other civilians. Congo has been at the focus of the world’s deadliest conflict since 1945 involving 5.4 million deaths. Surrounding countries are involved in the ravaging of the Democratic Republic of Congo (DRC)’s mineral wealth. More recently, hundreds of thousands of children, girls, and women are abducted, brutalized, and are forcefully made to work, some as sex slaves, and even UN peacekeepers do not do much to protect citizens and instead participate in these abuses and plunder. At the center of the plight of the people of Congo, are unsafe and violent resource extraction projects. Home demolitions, evictions, displacement, targeted violence on activists and land defenders, and child exploitation are commonplace in these unsafe mines, with one of them caving in 2019 killing a total of 49 people. Since the 1990s, Congo has been at the center of mass atrocities at the hands of Belgian colonizers led by King Leopold, amassing more casualties than the holocaust in an exploitative, brutal, and tortuous regime with farming rubber, ivory, and minerals for profit at the heart of its interests. Now, neo-colonial traditions continue to harm the Congolese people– history has not changed as children are still being abused for profit, women are still raped, villages are still being pillaged, and men are still being killed. A large part of what exacerbates the exploitative conditions in Congo are large mining companies that seek to pillage Congo’s wealth of natural resources to continue to wage imperialist wars on other nations. For example, grave human rights abuses are almost essential within Congo’s mines– massacre, genocide, environmental destruction, mines that Glencore, the world leading producer of cobalt in the DRC, and one of its subsidiaries, Katanga Mining have greatly benefitted from. Aside from this, these mining operations are responsible for up to 80% of the destruction of the ecosystem and cause the pollution of rivers, air, and soils that lead to chronic illnesses affecting surrounding communities. However, Glencore is not only active in inciting violence in Congo, but also in other nations– to pacify community resistance at mining sites, a large part of Glencore’s subsidiaries also employ numerous private security companies managed by former apartheid South African soldiers that are responsible for human rights violations in Namibia and Angola. The company is also in corruption scandals after allegedly paying 75 million euros to Israeli billionaire Dan Gertler who bribed officials in Gecamines to secure mining agreements. This tracks, seeing as Israel’s genocide of Gaza utilizes bombs, jets, tanks, and guns used by Israeli forces in their Palestinian occupation are directly produced from destructive mining operations in Congo, Columbia, South Africa, West Papua, and Bougainville. Our oppressors are not all that different, but are interconnected and the same. The brutal cycle of community resistance at mining sites which are pacificied via military repression fueled by minerals from other conflict zones does not start and end with Glencore. Unfortunately, it is not an isolated incident as seen in the case of Rio Tinto, a subsidiary of Bougainville Copper. Rio Tinto has polluted the Bougainville’s river systems killing aquatic life, land based livelihoods, and sacred spiritual sites in the area. They have also supplied helicopters to the Papua New Guinea army to pacify anti-mining and independence movements, commit torture, and launch extrajudicial killings, killing over 20,000 Bougainvilleans by the end of the decade. The same company is also responsible for human rights violations in Madagascar, West Papua, and Lonmin in the Marikana massacre. Human rights violations in the nations of the world’s oppressed majority range far and wide, but our oppressors remain exactly the same. The fight for a free Congo, is one with the fight for a free Palestine and a free world for the oppressed masses of the globe. As we recognize how each of our struggles for national liberation is interconnected, we must also come together to fight for what will be our joint liberation. Through finding strength in international solidarity of the oppressed peoples of the world, we shed the view that these issues of violence and abuse are separate instead of a shared fight against imperialism, colonization, and exploitation. Stay connected with Afrique Noire Magazine here on Instagram and join our fast growing community here on TikTok

October 13, 2024

Poetry

Creative Resistance: How Art Fuels the Fight for Environmental Justice

Interviewed by Dhayana Alejandrina. Lead Poetry and Cultural Collaborator at Noire Magazine. Today, I am excited to present a special interview with Carmen Danae Azor, a multidisciplinary artist specializing in video, performance, photography, and earth art. With a profound commitment to ocean conservation and environmental justice advocacy, she has spearheaded transformative initiatives through various collaborative projects. Carmen combines her artistic creativity with a passion for biodiversity conservation and climate action, aiming to foster positive change globally. Why this interview, you may ask? As someone born and raised in the Dominican Republic, nature has always been very important to me. The other day, I discussed the effect nature had on my childhood and stated that, “I am grateful for the way my parents exposed me to thebeauty of nature and the lessons she bestows. It is one thing to admire nature, but a completely different one to respect it and want to take care of it.” Now, as an adult, I have learned that nature is a reflection of us, and we are a reflection of her. In “Spiritual Ecology,” a book Rudolf Steiner that I have been reading, he emphasizes the interdependence between humans and nature. He argues that humans are an integral part of the evolving natural world and that this world surrounds us, allowing us to rediscover ourselves within it. Steiner’s work highlights the necessity of a balancedrelationship where neither exploitation of the Earth nor seeing ourselves as mere irritants is appropriate. Instead, we should strive for a conscious equilibrium, understanding that our existence and the well-being of nature are deeply intertwined. With this important perspective in mind—that “our existence and the well-being of nature are deeply intertwined”—I hope this interview inspires you to consider the ways in which you can contribute to environmental conservation andawareness. Let’s explore how our individual efforts can collectively make a significant impact in preserving the beauty and vitality of our natural surroundings. An interview conversation with Carmen Danae Azor Thank so much for joining me in a very important conversation about nature and environmental justice, Carmen! I would love to start by discussing your upbringing a bit. How have your culture and environment played a role in your journey as an Environmental Justice Advocate? My mother is from Samaná, Dominican Republic, and my father is from Spain, placing me at the intersection of worlds. As a diplomat’s daughter, we moved every few years— Costa Rica, Uruguay, Mexico, the Dominican Republic, Spain, and the United States. Each move offered a new lens, revealing the beautiful diversity of our planet. Growing up light-skinned in a world marred by colorism and racism, I was painfully aware of the privileges and expectations imposed upon me. My hair, a symbol of my Afro- Caribbean heritage, was straightened weekly to conform to Eurocentric ideals. These experiences taught me the harsh realities of assimilation and the cost of invisibility. Returning to Ayiti, my mother’s homeland, after nearly a decade away, was a pivotal moment. The island’s beauty was overshadowed by the pervasive presence of plastics, pollution, and environmental degradation. This stark reality cemented my passion for environmental justice, merging my personal experiences with a commitment to fight forsustainable and equitable solutions. Through my art and advocacy, I aim to address the intertwined issues of environmental degradation and social inequality, striving for a future where both people and nature can thrive. What does it mean to you to be a multidisciplinary artist? Being a multidisciplinary artist means embracing the freedom to express myself through various forms and mediums. It allows me to weave together different threads of creativity —visual art, writing, performance, and activism—into a tapestry that speaks to the complexities of our world. This approach not only broadens my creative horizons but also deepens my understanding of the interconnectedness of social, cultural, and environmental issues. What is the “why” behind your work? The “why” behind my work is rooted in my desire to disrupt the status quo, and to tell stories that matter. Growing up in a world marked by environmental degradation, social injustices, and cultural erasure, I feel a profound responsibility to use my art as a vehicle for change. I strive to amplify the voices of marginalized communities, highlight the beauty and resilience of diverse cultures, and advocate for environmental justice. My work is a call to action, urging people to see beyond their immediate reality and to engage with the broader struggles that shape our world; it’s about decolonization and unlearning. Ultimately, my art is about connection—connecting people, to their environment, and to the deeper truths that lie beneath the surface of our everyday lives. Through my multidisciplinary approach, I aim to create a space where dialogue, understanding, and transformation can flourish. Growing up in the Dominican Republic, surrounded by the beauty of its nature and fruits, and influenced by my parents and grandmothers, I developed a profound connection with nature, seeing it as a reflection of myself. How has nature shaped you? What is one of the biggest lessons it has taught you? Having Taino ancestry like we do means that we are aware, and in touch, with our deep and ancestral connection to Nature and other species. Nature has taught me resilience. Watching the cycles of growth and renewal, I have learned that even in the face of adversity, life finds a way to persist and flourish.The way a tree bends with the wind yet stands firm, or how a river carves its path through the toughest rock, has shown me the power of adaptability and perseverance. One of the other biggest lessons nature has taught me is interconnectedness. Everything in nature is part of a larger web of life, where each element plays a crucial role in the ecosystem’s balance. This understanding has profoundly influenced my approach to environmental justice and activism. It reminds me that our actions, however small, have a ripple effect, impacting the broader world around us. This lesson of interconnectedness drives my commitment to creating a more sustainable

October 11, 2024

Culture

Entrepreneurial Journeys: The Inspirations Behind Launching Brands in Africa

AFRICAN CREATIVE STORIES Join us on this episode of African Creative Stories as we sit down with five remarkable African entrepreneurs who are revolutionizing their industries across the continent. They reveal the sparks that ignited their brand launches and the pivotal moments that defined their journeys. Dive in and enjoy their inspiring stories! Peter ACHA – Founder of PETTRE TAYLOR (Lagos Nigeria) Q – What inspired you to start your brand? A – What really inspired me to start Pettre Taylor was a travel experience I had with my dad when I visited my hometown, Utonkon, the Ufia land, for the first time as a youth. Learning to pronounce words in my native dialect while interacting with people and immersing myself in the culture was incredibly priceless and eye-opening. I also got to teach them words in English and share the knowledge I had. Allowing myself to connect with my people made me realize that, just like my culture and my people, there are other cultures out there with their own spaces, people, and traditions. This fueled my curiosity about the cultural tapestry of the world. My brand reflects my journey to view the world through my own lens and present my clothes as a medium for cultural dialogue. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – I had always been quite reckless in my design process, randomly buying fabrics and designing expressively, without always knowing if the clothes would be well-received. But I had this feeling that there was someone out there for whom I was designing. When ‘30s Store’ reached out and invited me to showcase my work at their pop-up event in Lagos, I was both excited and nervous. The moment we were done arranging the clothes on the racks, the response was overwhelming. Within an hour, I had sold out almost my entire stock, leaving just two pieces remaining. It was an incredible feeling, not just because of the financial success, but because it validated my approach and my belief that there was an audience for my brand. Maina Wathiong’o – Founder of KAUWRI (Nairobi Kenya) Q – What inspired you to start your brand? A – After spending a year in the design industry, I developed a deep appreciation for the intricate and artistic nature of the design process. From conceptualizing ideas to creating samples and eventually seeing the final product purchased and cherished by clients, I found the entire transformation fascinating and fulfilling. This experience solidified my desire to pursue design full-time. I wanted to create something unique that reflected my heritage, which led me back to my Kenyan roots, specifically my Kikuyu culture. The cowrie shell holds significant cultural reverence, and I envisioned Kauwri as a modern ode to my culture. Initially, I focused solely on cowrie shells, but to avoid limiting my creativity, I expanded the scope to include other shells and nature-inspired jewelry. Our journey began with the launch of the Celestial Collection at Nairobi Design Week in March 2024. This collection beautifully merged celestial elements with the cowrie shell, marking the beginning of Kauwri’s unique design narrative. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – One of the most unforgettable moments for Kauwri thus far was participating in Nairobi Design Week 2024. Launching our first collection and receiving such positive feedback was incredibly validating, especially as a self-taught jewelry designer. The exposure and following we gained from the event were remarkable. Another defining moment was when a client purchased a ring from us as a gift for Arsema Thomas, known for her role in “Queen Charlotte.” It was a humbling yet proud moment to know that Arsema Thomas owns a piece of Kauwri jewelry. Daniel TOHOU – Founder of NEFER (France and Dahomey – Benin)- Q – What inspired you to start your brand? A – L’inspiration qui m’as permis de commencer NEFER est le désir profond de rendre hommage à l’héritage globale de l’Afrique et sa diaspora. Translation – The inspiration that allowed me to start NEFER is the deep desire to pay homage to the global heritage of Africa and its diaspora. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? Le moment le plus determinant est l’opportunité que j’ai eu d’habillé Jidenna pour les Grammy awards, ce fut l’ouverture de la marque au yeux du monde. Translation – The most defining moment was the opportunity I had to dress Jidenna for the Grammy awards, it was the opening of the brand to the eyes of the world. Halimat SALAKO – Founder of BL BRAND (Lagos Nigeria) Q – What inspired you to start your brand? A – When I began, I had no inspiration (that’s quite funny 😂). It started merely as a means to survive, seeking something different from the typical entrepreneurial skills we were offered. Over time, it has evolved into a passion and a way to build a community. It’s no longer just about survival; it’s about driving change, standing out, and creating lasting memories. Inspired by the cultural heritage of Adire, I wanted to differentiate myself by infusing the traditional Adire style into modern streetwear. Q – What’s the most unforgettable memory or defining moment you’ve had with your brand? A – I have a lot of unforgettable memories with the brand. When we were planning a campaign, it took a lot of time to execute the plan. When the video was released, it became the talk of the town. I felt really good seeing people watch the campaign. It still feels unreal

August 5, 2024

Editorials

The Interwoven Legacy of Sexuality and Shame in African Culture and Clothing

Colonial Threads: The Interwoven Legacy of Sexuality and Shame in African Culture and Clothing Time and time again, harmful representations of African clothing and customs are used to sully African culture, and by relation, African peoples. Even children’s books, representation used to largely come in the form of very dehumanizing caricatures, emphasizing the ‘savagery’ that was tied to the grass-skirted, loin-clothed, or even bare indigenous peoples. The issue colonists had with the unclothed natives was the ‘savagery’ and ‘primitiveness’ of their lack of clothing. However, after taking a quick look at the way that classical art of ancient Greece simultaneously was heralded as the intellectual foundation of high art of the time, it becomes increasingly clear that the issue is not the nakedness of the natives, but the existence of the natives themselves. On top of the shame from the racist connotations that the west attached to the way natives presented bare, natives were also faced with the added burden of danger in the sexualization of their bare bodies. Clothing with the purpose of covering up was introduced into African culture through the suffering of Aboriginal women who partly took it up to reduce their sexual vulnerability under colonial rule. Even in pictures of colonized women posed by European photographers, women were posed to make eye contact with the lens, as if directly looking at the viewer. This pose was reminiscent of emerging pornographic photography at the time. While the women were unaware of these connotations in their naked state that was otherwise commonplace to them, the groundwork to further sexualize the mere existence of African women was already deceitfully laid. The colonial lens has lent to the corruption of the image of the naked African body– to see it as ‘unclean,’ ‘unnatural,’ and ‘unwell,’ further legitimizing and necessitating its colonization. Clothing has been used to denote proximity to ‘civilization’ and widen the contrast between unclothed Africa vs clothed Europe. Clothing that conformed to European standards was not only taken up for protection from prying eyes, but began to reflect standards of ‘morality’ and ‘normalcy’. The pervasive demonization of bare African bodies is a larger symptom of the still-invasive colonial project to ‘reform’ Africans. This has been ingrained so deeply into the culture of African society today as seen through the proposal and consideration for a Nigerian bill for an act to prohibit and punish public nudity, sexual intimidation, and other related offenses. The Public Nudity Bill went through two senate readings in 2007 and 2008, respectively, with it finally being dropped because of its discriminatory nature towards women which failed to honor and consider the cultural diversity of Nigeria. The way in which the bill used the terms ‘nudity’ and ‘indecent dressing’ interchangeably only serves to prove how still-permeating the colonial mindsets and traumas bleed into African society. In Lagos, Nigeria, women accused of crime have their own autonomy taken from them, are dehumanized, and are forcibly stripped as a sanctioned punishment from ad hoc groups. Sexual and gender-based violence that disproportionately incites violence against women and girls and continue to use clothing as a weapon to further harm and rob women of their autonomy, recreating and reinforcing the colonial custom of gendered violence through clothing. When we see and think about how clothing is weaponized against vulnerable communities today, we ought to look at the colonial pain and strife that informs these unjust cultures of violence. To truly enact change, we must utilize this knowledge to free ourselves and dismantle ideas that continue to perpetuate the demonization of African bodies and culture. Stay connected with Afrique Noire Magazine here on Instagram. And join our fast-growing community here on TikTok.

July 31, 2024

Beauty/Fashion

Clothes inspired by Architecture – UGHA MI Collection

UGHA MI, translating to ‘My Compound’ in Itsekiri, invites wearers into a universe where architecture and fashion intertwine. This collection reimagines homes as the perfect blend of function, aesthetics, and identity. Serving as a Dukun manifesto, UGHA MI delves deep into our dedication to product-led design. It embodies the essence of our compound, showcasing the textures, materials, and techniques that form its foundation. We push the boundaries of fabric manipulation, transforming conventional fabrics and reinterpreting familiar silhouettes. Guided by geometry, meticulous finishing, and attention to detail, each piece embodies the comfort and freedom of home, allowing for authentic self-expression. Designed and produced entirely in-house by a small team with materials sourced from Lagos, UGHA MI is a visually captivating and technically proficient collection. Its deliberate deconstruction reflects our ongoing quest to redefine and refine our aesthetic through clothing. Explore all 15 looks from the incredible collection. Photographed – @morganotagburuagu Photography assistants – @campmanuelpictures & @fuerteotas Creative direction and styling – Temisan Dukun Creative assistant – @bright.itua.39 Casting – @rmcastings Art Direction – @the.terrible.thing Model – @darreqm Footwear – @kkerele Follow & support @dukun here Stay connected with Afrique Noire Magazine here on Instagram. And join our fast-growing community here on TikTok.

July 9, 2024