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ETHIOPIAN GIRLS ARE BREAKING STEREOTYPES THROUGH SKATING     Over the past several years, the presence of skateboarding has slowly but surely risen among the bustling streets of Addis Ababa. For Sosina Challa, this left no question but to want to be a part of it. Watching many others take to the streets, she taught herself how to skate but noticed there wasn’t much of a space for them and other girls to be themselves. Challa decided to host the first all-girls skating session where she met Hana Beles, who goes by Bee. In the beginning, Bee says, ‘I used to go [to the skatepark] and just watch her.’ After the two met, they formed Ethiopia Girls Skate, one of the first female-only skateboarding groups in Addis.     They started this group simply because they wanted to skate. Bee says, ‘Being raised here, I did not see spaces like that where girls can just be, just free to have fun,’ but it’s become more than that. They’ve become an exemplar of what it’s like to be a part of something that goes against the status quo issues with gender and economic class. Bee explains, ‘For most girls, there’s a lot of pressure at home, in society, stereotypes… For guys, it’s just skateboarding, but for girls, nobody will give you that encouragement. They will say, ‘Why are you hanging out with a lot of boys… Just go back to the kitchen       The purpose in the beginning was to create a place where girls could skate and feel safe because that wasn’t always the case. Chasing down boys in the skatepark who would steal skateboards and disrespect shared space didn’t make the sport easy to enjoy. ‘In the beginning, there wasn’t a place where we could do our own thing,’ Bee says. ‘We started this project because there wasn’t any place for us.’ Sosi and Bee sought to fill in the gaps of their community through sport and enjoyment, but this feat also brought on more challenges that the founders had to face     Dealing with stereotypes against skateboarding, they needed to make efforts to convince parents to let their daughters skate with them. Bee says, ‘For some families, it’s when their kids fell and they had a bruise, for some families it’s because they think skateboarding is associated with drugs… For some families, it’s ‘No, you need to focus on school’.’ They decided to make personal connections with the parents, sending uplifting messages about their daughters’ progress and how much fun they were having, which eased the parents’ concerns and encouraged the girls to keep showing up. ‘We started talking to the kids and just making sure that they are safe with their friends… We made it a community,’ says Bee.     Perceptions of economic class became a challenge as well. When the girls joined each other, Bee says it took some time for them to get used to each other and says, ‘It was divided at first.’ Cliques would form based on different backgrounds. Bee and Sosi solved this by pushing the girls to do activities together: ‘We purposely mixed everybody. Just gave them projects together; teamed them up.’ This led to those cliques slowly disappearing; they started to see each other for who they are rather than the status in society they came from.     Skateboarding has meant more to the youth and to the development of Ethiopia’s future possibilities. With this new development, it became hard at times for the girls to coexist with other skaters at the park, sometimes even getting their skateboards stolen. However, this never stopped them from doing what they love on their Saturday mornings.     Oftentimes, you can find them skating together on neighborhood streets away from the bustling traffic of Addis, teaching each other how to do new tricks or balance on their boards. It’s here where you can see the clear comfort and joy that the girls have with one another. Bezawit Girma, their lead in communications, reflects on her thoughts about working with the girls: “I love them…there’s just some feeling…interacting with the girls, and just feeling like you’re making an impact.” The time they spend together does much more than just provide a place for the girls to skate; it’s simply a place where they can hang out and enjoy one another’s company. “Just being there, interacting with the girls, laughing, it’s not even about skateboarding. Just hearing everybody’s stories…their lives outside skateboarding…their school life,” Beza says. “Seeing these girls fall and get up, laugh it off, cry it off, it’s beautiful.”     Ethiopia Girls Skate’s desire is for people not just to know that they exist, but for people to understand how important and meaningful the community is to them. Bee speaks on the importance of having others know about Ethiopia Girls Skate and why it’s important that others invest in their community. “…they know of us, but they don’t know how hard it is to have this.” Over time, the girls were able to be recognized by organizations such as UNICEF and collaborate with brands such as Grind Like a Doll. Girma speaks of her future hopes for the girls. “I just want them to have opportunities, I want them to go see the world, I want them to compete, I just want their world to be bigger than what it is now.”     Ethiopia Girls Skate is hoping to reach the world with the message and the core of what they do. Bee says that “It’s not just skateboarding; it is women empowerment, it is home, it is sisterhood, it’s breaking stereotypes, it’s beginning a new generation with freedom.   Photographed by Hani Images Stay connected with Afrique Noire Magazine here on Instagram. And join our fast growing community here on Tiktok    

Ohiri Studio is a creative studio established in 2012, with its base spread across Paris and Abidjan, Ohiri exists to bridge the gap between ancient arts and crafts and the contemporary landscape.     Reinterpreting the aesthetics and symbolism of body ornamentation made by ancient cultures for today, Ohiri uses jewelry as a platform not only for adornment but also for object art. Discover their SS 23 collection – OUTLINE 2     Discover more about  Ohiri Studio here on Instagram.

Welcome, Noire Family, In this interview, I had the pleasure to sit down with the talented and amazing writer Kryxtian Black as he offers a captivating glimpse into his writing journey delving into his roots, the reasons driving his creative endeavors, and exciting future projects. Please join me in welcoming Kryxtian Black to Afrique Noire Magazine INTERVIEWED BY DHAYANA ALEJANDRINA Embarking on a captivating exploration, we recently connected with a talented and amazing writer, Kryxtian. In the following interview feature, graciously shares his thoughts and experiences, providing a glimpse into his world. Can you share a bit about your background and what initially inspired you to pursue writing/poetry? I’ve written since high school, and used it as a means of catharsis. I was greatly inspired by the artistry and life of Michael Jackson, and began making music at the same time I began poetry. I admire who he is, and his resilience. I feel that the most resilient of people bear an innocence that can neither be thwarted, nor spoiled by any of the world’s corruptive ways. I want to inspire people in a similar vein. I want them to know that their innocence and their justice are things that can not be revoked by any power external from themselves. I want to strike the love of love within their hearts, and that is my greatest wish for my poetry (and music alike). How does your identity, including cultural background influence your writing and the themes you explore? In what ways do you navigate the intersection of your personal identity and the broader cultural context in your work? The title of my first manuscript is ‘Killer Wails,’ a name that holds deep personal resonance for me. The connection runs profound as my legal name, Kristian Wilson, shares the same initials as Killer Whale. Moreover, these majestic creatures have frequented my dreams since childhood, imprinting themselves into my subconscious. As someone of mixed Afro-Latino and German/Ukrainian heritage, I find a profound connection with the monochromatic nature of the orca. Their distinctive black and white coloring, designed to blend seamlessly with both the darkness of the abyss and the brightness of the surface, mirrors the complexities of my own identity. This intricate connection serves as a poignant reflection of the multifaceted layers that shape my existence. There’s a depth to this affinity that extends far beyond mere symbolism, resonating with the essence of who I am at my core. While there are countless layers to this connection, these are just a few facets of how the killer whale, or orca, encapsulates my journey and identity.   How would you describe your creative process? Do you have any specific rituals or routines that help you get into the writing mindset? I’m drawn to the tranquility of early mornings for my writing sessions. Currently, I’m deeply immersed in crafting an oceanic fiction novel. On the mornings that I can, I eagerly rise with the sun, ready to pour my creativity into the project. Being a father of two little children adds to the whimsicality and dreamlike nature of the book, and I do my best to approach my stories like they would; with a fresh mind and open heart, ready to receive whatever the Spirit wants me to.   Who are your literary or poetic influences, and how have they shaped your work? Like I said above, Michael Jackson is a big one. Most people don’t know, but he actually released a poetry book in 1992 called ‘Dancing the Dream.’ That book has inspired my literature a lot, as well as Kahlil Gibran and Saul Williams. Recently, after much seeking, I’ve returned to the teachings of Jesus Christ (also known by his Jewish name Yeshua HaMashiach). I have been researching the original Aramaic teachings in order to get a more accurate grasp on who he is and why he matters so much to my life. Neil Douglas-Klotz is a translator who has penned a book called ‘Prayers of the Cosmos’, which shows the original Aramaic Lord’s Prayer, Beatitudes, and other famous scriptures. When it comes to Gibran’s writings, I’m particularly in love with his book ‘Secrets of the Heart.’ I’ve garnered a deep sense of beauty from his work, and have reaffirmed my own values in terms of faith, reason, and love. . Saul Williams has inspired me to extend the length of my works, and to play more with language in a way that showcases my own multidimensionality through its own multidimensionality. His piece’ Children of the Night’ struck a chord with me on a profound level. I also really love the children’s book ‘Life Doesn’t Frighten Me’ by Maya Angelou, illustrated by Jean-Michel Basquiat. To me, it is such a legendary work of creativity, and Scott Nagatani’s musical read-along on YouTube does it beautiful justice. In terms of storytelling (fiction) I’m heavily inspired by anime and works of animation like Children of the Sea, Princess Mononoke, and Avatar: The Last Airbender.   What challenges do you face as a writer/poet, and how do you overcome them? Achieving publication and securing a lucrative book deal are pivotal milestones for me. They would not only allow me to enhance my creative endeavors but also enable me to elevate my entire process by incorporating animation, creating video games, and exploring other innovative mediums. With unwavering faith, I trust in God’s guidance as I diligently seek out literary agents to submit my work to. Also, I try not to take myself too seriously. I know that the books I have within me (of all genres… poetry, fiction, etc.) are one-of-all-kind, and they’ll reach the readers they are meant to! Each submission is made with a heart full of faith, knowing that the right opportunity will manifest at the perfect time. Could you share one of your favorite pieces or an excerpt from a project that holds personal significance? What does it mean to you? Below is a piece from my debut manuscript, ‘Killer Wails.’ A bit of

Curated By Nicolette Alexandra Brito-Cruz Letters of the Unheard is a literary and visual photography project where models pour their hearts into heartfelt letters to their past selves, recounting their path of growth and embracing their identities. The transformative photoshoots capture the raw, emotional moments described in their letters, inviting you to witness the incredible power of self-reflection and self-love. Nine models from diverse regions of the world have contributed to bringing this project to life, generously sharing their personal stories with us and with you. Delve into the captivating narratives of these nine creative and captivating individuals. Model 1 – Taleha Whyte, Jamaican. Leaving my country of birth at two years old was what I perceived as one of the only experiences that connected me to both of my parental roots while being raised by a single mother in a post-colonial power country. Leaving Jamaica is my origin story not because it was the country I was born in, but because I unconsciously excluded it from my identity growing up. Assimilating into the American culture often forces first-generation children like me to embrace a history/ culture non-congruent to that which we are. Consequently, I ended up adapting an identity that was embarrassed to embrace my tribal culture and ancestral history. In more relatable terms I became a replica of the oppressing powers placed upon my country and people. Pulling from my indigenous background when would enhance the hyper-individualistic culture of America that was instilled in me. Redirecting my life to Rome Italy to attend John Cabot changed my entire perspective on embracing my Jamaican background. Now, not only am I surrounded by global students from over seventy different countries, but we get to work collectively harnessing our individual experiences to better understand one another. While this may be perceived as normal or expected by most for someone like me it’s a miracle. Once leaving the United States the contradictions about assimilation and the distinctions surrounding our perception were so evident, that it acted as a catalyst to appreciate and embrace my Caribbean culture.  Reclaiming my culture also acted as a catalyst for my creative journey as well, being that John Cabot is a liberal Arts university and Rome is also a post-colonial power country. The irony of leaving one colonial country only to reclaim my indigenous identity in another led to several painful self-reflective moments. Pain which I have now transmuted into power, public speaking, and progress for both me and my people. Discover more about Taleha Whyte here    Model 2 – Janane Ashraf Saad Hassaan, Egyptian. Long Live the Egyptian Woman Ya baba, I could address this to the white boy who doesn’t like political art I could address this to the white lady who wants to liberate us with bikinis I address it instead to you, daughter, sister – woman. Do you know where you come from? Do you know who you come from? They teach you about Elizabeth and Napoleon, They teach you, maybe even, about Cleopatra, But do you know? Do you know Hoda Shaarawi and Doria Shafik? Do you know, simply, the stories of your grandmother? Do you know the peace of sipping on shay bel ne3ne3, and closing your eyes to the voice of Um Kulthoum? They claim you are oppressed for the lack of skin they can lay their eyes on, but call you savage when you dance in the ways most natural to you. They say, sorceress, because they cannot fathom a body so free. Do you know Samia Gamal and Shafiqa Al Qibtiyya? You need not look far to find your power, The blood of yours runs through our soil, as the Nile runs through your veins. Ya amar, you are magic, you are liberty personified. Do you know lady liberty? The Falah7a. Discover more about Janane Ashraf Saad Hassaan here  Model 3 – Skyla Bigale Priya Shangazi Ntsikilelo Margo Katenga, Malawian and South African. Warm Heart of Africa to the World Liberating. Welcoming. Enlightening. Peaceful.  These are words that I associate with being a citizen of the world. It means that I create a home and a safe space within myself, without the fear of being rejected and neglected.  There is a certain intimacy and tenderness that comes with recognizing your inability to be confined to a certain place and your ability to adapt. Instead of being depressing, embarrassing, and isolating, it allows me to be versatile and exposed, to take space without infringing on others. Citizen of the World is about creating opportunities for me to learn about other cultures, but also share my roots.  It means I get to wear my roots on my sleeves, while I interact with places that are not my own. Creating opportunities for chintejes, Chichewa, and I Skyla Shangazi Bigale Priya Nstikilelo Geneva Margo Katenga to be welcomed and at home no matter where I go. Discover more about Skyla Bigale Priya Shangazi Ntsikilelo Margo Katenga here Model 4 – Natasha Kalondu Kisila, Kenyan.  This white world will never love me  This white world will never love me This white world will never love me, for simply existing. I must sit and allow a white men dictate what I “should” be. Catering to each of them. My hair is too short, he swiftly swayed his hand to reference what a woman’s hair should look like.  A small brunette woman, loose curls, past her shoulders. Now, how do I help this situation? This body I was born into, one that I have grown to love.  Nothing about who I am has the power to trigger insecurity. So we stare at one another, he finally remembers he’s in the middle of providing a service. But that’s only after he has made sure everyone in the vicinity has heard his criticism, he got some laughs. I was the loudest; I just wanted it to be over. The same sentiment rises as my mother and I stand hand-in-hand at an Italian airport. They must

INTERVIEWED BY DHAYANA ALEJANDRINA Welcome, Noire Family, In this interview, I had the pleasure to sit down with the talented and amazing writer, Nicolette Alexandra Brito-Cruz, as she offers a captivating  glimpse into her inspirational journey, delving into her roots, the reasons driving her creative endeavors, exciting future projects, and more.   Please join me in welcoming Nicolette Alexandra Brito-Cruz to Afrique Noire Magazine! Can you share a bit about your background and what initially inspired you to pursue writing/poetry? My name is Nicolette Alexandra Brito-Cruz. I am a first-generation, fourth-year undergraduate student pursuing a Bachelor of Arts in Journalism & Media with a specialization in Global Media. Additionally, I am working towards a Bachelor of Arts in Italian Studies with a minor in Women and Gender Studies. As a first-generation Dominican-American, my inspiration to pursue writing and poetry originates from my unwavering passion for exploring issues of decolonization, race, ethnicity, gender, sexuality, and abolition. I consistently find that a significant portion of my poetry and visual art relates back to the exploration of my diverse identities. How does your identity, including cultural background, influence your writing and the themes you explore? In what ways do you navigate the intersection of your personal identity and the broader cultural context in your work? My work is deeply influenced by my Afro-Dominican-American cultural background, particularly in the context of my current residence in Rome, Italy, where Caribbean culture is notably absent. Afro-Caribbean culture and spirituality serve as significant wellsprings of inspiration for me. I navigate the confluence of personal identity and a broader cultural milieu by intricately incorporating these elements into my narratives, celebrating both the beauties and misfortunes of various cultures. Through my poetry and photography, I delve into the multifaceted layers of being Afro-Latinx. Additionally, I leverage my digital presence and privilege to spotlight and uplift communities that have played pivotal roles in the pursuit of Black Liberation, such as Haiti, as well as various cultural groups grappling for liberation, including Palestine and Bedouins/Bedoons in the SWANA region, among others. I firmly believe in the importance of utilizing one’s privilege, regardless of its extent, to advocate for the liberation of all people. How would you describe your creative process? Do you have any specific rituals or routines that help you get into the writing mindset? My creative process is fluid. Although I don’t adhere to strict rituals, I believe in advancing my ideas, even in uncertainty. This approach frequently results in unexpected and aesthetically pleasing forms in my work. Inspiration is drawn from various sources, particularly when exploring diverse cultural backgrounds and delving into the historical contexts of traditions and practices. Who are your literary or poetic influences, and how have they shaped your work? I draw inspiration from a diverse range of literary and poetic influences, with a particular emphasis on Black and Arabic literature. Mahmoud Darwish stands out as one of my favorite poets due to his profound connection of all his works to his culture and religion. What challenges do you face as a writer/poet, and how do you overcome them? One challenge involves questioning my work and ideas. I overcome this obstacle by embracing uncertainty and forging ahead with my creative instincts. More often than not, my ideas evolve into something unexpected and beautiful. How would you characterize your writing style or poetic voice? Are there specific elements or techniques you consciously incorporate into your work?  My writing style can be characterized by thought-provoking narratives, primarily centered around spirituality. Even poems that do not directly address social justice still connect to spiritualism and Afro-Caribbean religion in unconventional ways. How do you envision your work resonating with readers? Is there a specific message or emotion you aim to convey? I aspire for my work to resonate by cultivating a sense of community and belonging, especially for those contending with societal injustices. My objective is to dismantle barriers and establish spaces where diverse voices are not only embraced but also celebrated. Could you share one of your favorite pieces or an excerpt from a project that holds personal significance? What does it mean to you? My poem “Old Enough to Understand” was published in the 5th issue of Rejected Lit and Heirloom of Shame is one of my recent poems. Heirloom of Shame My genitalia is not a symbol of life. I refuse to use it to birth the next generation of unprepared, culturally dissociated servants to a society that loathes them. I will not give in to the fear that by not doing so, I will be shamed in accordance with the traditions of “my” culture. Creating, growing, and nourishing a child from my own stomach and breasts is a privilege that has become an unwritten law established by the hierarchy of the patriarch. The process of childbirth is a phenomenon that the male body was not created to handle, and yet they have somehow found a way to infest it with poisons and lies dating back to 1492 when La Hispanola’s first invader sailed the ocean blue.  My Dominican mother’s mind is unconsciously rooted in the deepest seed sowed during this time. She tells me I’m selfish for condemning her prayers about my “future children” and that this was what I was created for, to create. Little does she know that because of people like me, she has the right to vote. Because of people like me, she has the choice to remain single and not be forced into marriage. Because of people like me, the world is waking up and correcting its mistakes because we refuse to take their shit. My “learned selfishness” is the reason I’m not afraid to snatch back what is mine and, on the contrary, do so with pride. Regardless of whether or not I have to shout at the top of my lungs to be heard by a crowd of minuscule cis-gender, straight, elderly, white men or march until my feet can no longer carry my fighting body, this

  In a recent heart-to-heart with Afrique Noire, the talented British- Sierra Leonean photographer, Salima, shared the story and vision behind his captivating his evocative photography series, ‘Swit Salone: Beauty in the Unseen’. Salima’s narrative is as captivating as the visual tales he weaves through his lens, embodying a deep-seated appreciation for Sierra Leonean culture. The conversation delved into the essence of these images and the broader narrative they hint at, reflecting Salima’s profound appreciation for representation in photography. The rendezvous with Georgiana marked the commencement of a series of shoots Salima had planned. Opting for a less complex shoot initially, the images captured were metaphorically described as the ‘calm before the storm,’ alluding to the more intense shooting days that lay ahead. This shoot served as a pilot, gauging the kind of magic Salima and his team could create within a span of three hours at a single location. The results were nothing short of astounding, setting a promising precedent for the days to follow. Salima, with a robust background of five years in the creative domain, has always harbored a passion for elucidating representation through his lenses. His photographic narratives often revolve around Afro-Caribbean talents, encapsulated in a medley of striking portraits adorned with bold colors and highlights. This distinctive style shines a light on the vibrant and diverse cultural tapestry, making his work resonate with many. The shoot with Georgiana was part of Salima’s larger vision conceived during his maiden voyage to Sierra Leone. Armed with a camera and a vision to encapsulate the essence of Sierra Leone, Salima embarked on a mission to create something awe-inspiring. His aim was simple yet profound: to craft visual stories that would beckon people to explore and celebrate the rich culture of Sierra Leone. Titled ‘Swit Salone: Beauty in the Unseen’, this ongoing series is Salima’s heartfelt ode to the land, its people, and its culture. The series unearths the intrinsic beauty, the undying spirit, and the cultural richness of Sierra Leone, all encapsulated in frames ready to be exhibited to the world. Salima’s hope is to evoke a sense of admiration and a longing to delve deeper into the cultural essence of Sierra Leone through his photographic series. The tale of Georgiana is just a glimpse into Salima’s broader vision. It’s about seeing beyond the obvious, exploring the unexplored, and celebrating the unseen beauty that Sierra Leone holds. Through the lens of Salima, each photograph is more than just a visual delight; it’s a voyage into the heart of Sierra Leone, capturing the ethos of ‘Swit Salone’ and inviting viewers to celebrate the unseen beauty it encapsulates. As Salima continues to traverse through the photographic realms of Sierra Leone, each frame curated adds a new dimension to the unfolding narrative of ‘Swit Salone: Beauty in the Unseen’. It’s a journey of discovery, appreciation, and a sincere endeavor to share Sierra Leone’s rich cultural narrative with the world.