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People - Origins - Culture<br />

ETHNICITIES<br />

www.ethnicitiesmagazine.com<br />

<strong>Issue</strong> <strong>23</strong> - May/June <strong>2018</strong><br />

Amo a mi raza<br />

Author: Prof. Gerardo Maloney<br />

May, Black Ethnicity Celebration in Panama


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CONTENT<br />

ETHNICITIES<br />

Editorial Letter<br />

Licda. Keila Salazar de Moreno<br />

Tewali Bung..........................................................................3<br />

Magister, Nilsa Justavino<br />

Redefining Afropanamanian dress..............................4<br />

Ninna Marie Ottey, B.A.<br />

The Afro-Peruvian popultation in the media..........13<br />

Ana Lucía Mosquera, B.A.<br />

Fashion Trends - Amo a mi raza................................15<br />

Poem by Gerardo Maloney<br />

Wake up and Make up....................................................21<br />

Samara Wallace, B.A.<br />

Transformation, the route to be a beautiful path..24<br />

Jessica Bernard, B.A.<br />

Socials.................................................................26<br />

24<br />

4<br />

AFROPANAMANIAN DRESS<br />

TRANSFORMATION, THE ROUTE TO<br />

BE A BEAUTIFUL PATH<br />

FOUNDER & EDITOR IN CHIEF<br />

Keila Salazar de Moreno, B.A.<br />

info@ethnicitiesmagazine.com<br />

GRAPHIC DESIGN<br />

Stephany Salazar, B.A.<br />

stephany.salazar20@gmail.com<br />

PHOTOGRAPHS<br />

www.pixbay.com<br />

Vina Yetman<br />

COVER CONTENT PHOTOGRAPHS<br />

Cover photo y Fashion TRENDS:<br />

Production: Vina Yetman<br />

Photograph: Vina Yetman<br />

Crown & details: LadyLu Vintage Store<br />

Make up: Dérika Bulgin de My Makeup PTY<br />

Dressing: Garbo by Greta<br />

SALES, MAERKETING AND PUBLIC<br />

RELATIONS<br />

Keila Salazar de Moreno, B.A.<br />

MAY - JUNE WRITERS<br />

Magister, Nilsa Justavino<br />

Ana Lucía Mosquera, B.A.<br />

Kris Aguilar, B.A.<br />

Samara Wallace, B.A.<br />

Jessica Bernard, B.A.<br />

Nina Ottey, B.A.<br />

Cecilia Moreno, B.A.<br />

Dr. Alberto Barrow<br />

Keila Salazar de Moreno, B.A.<br />

SPANISH VERSION CORRECTION<br />

Keila Salazar de Moreno, B.A.<br />

Stephany Salazar, B.A.<br />

EDITORIAL LETTER<br />

My heart is full of happiness, and this is due to see all entrepreneurs who<br />

are in our Afro Descendant community in Panama, also to see the different<br />

private schools, public and private institutions that have joined us in<br />

the celebration of May 30th, official date of Black Ethnicity in Panama,<br />

and that all Afro Panamanians celebrate for a whole month.<br />

I mean loudly, VIVA NENGRES, I’m black and I’m proud of it. If were to be<br />

born again and had the option to choose my race, I would not hesitate for<br />

a second to choose to be black.<br />

I hope enjoy the exquisite content we bring to you this month.<br />

My special thanks to Vina Yetman the cover photograph and for Fashion<br />

Trends, Garbo by Greta who dressed our beautiful cover model Melida<br />

Asprilla from Colon, who participated for Miss Colon year <strong>2018</strong> and LadyLu<br />

Vintage Store creators of crowns of flowers and precious stones and<br />

headpieces.<br />

Thanks also to all our columnists, that every month, make possible that<br />

the content of <strong>Ethnicities</strong> <strong>Magazine</strong> is rich every month.<br />

WEBMASTER<br />

Keila Salazar de Moreno, B.A.<br />

15<br />

www.ethnicitiesmagazine.com<br />

CONTACT<br />

+507 625<strong>23</strong>175<br />

Keila Salazar de Moreno<br />

Founder & Editor in Chief<br />

<strong>Ethnicities</strong> <strong>Magazine</strong><br />

**<strong>Ethnicities</strong> <strong>Magazine</strong> investigates the seriousness of their advertisers,<br />

but i not responsible with related offers they do. The<br />

opinions expressed by the authors do not necessarily reflect the<br />

position of editor of the publication, total or partial reproduction<br />

of the content and images of the publication without prior authorization<br />

of <strong>Ethnicities</strong> <strong>Magazine</strong> is strictly prohibited.<br />

AMO A MI RAZA<br />

1 2


ETHNICITIES<br />

ETHNICITIES<br />

AFRO PANAMANIANS<br />

Author:Ephraim Alphonse, 1939<br />

TEWALI BUNG<br />

A STORY TOLD IN BOCAS CREOLE ENGLISH<br />

BY: MAGISTER, NILSA JUSTAVINO DE LOPEZ<br />

Wans apan a taim, long, long taim, wan uold<br />

man liv in a kiev. Him beard long, him foot<br />

switchy, him fingernails same like spider<br />

foot an` him eye just like puss eye. Him toe<br />

nails same like crab claw, him teet dem look<br />

like big dog tusk, an him could run so fas`not<br />

a boy nor a gal ever get `way fram him. But<br />

fi him eye can`(t) see durin`de day. Him can<br />

ongly see durin`de night.<br />

So all dem bway and gal like fe go<br />

look `pon him and tease him in a de day time.<br />

Old Rumpliss use to tell im little fas`pickney,<br />

“Don`go tease Tewali Bung. De road lang. If<br />

night ever ketch you, Tewali Bung goin`make<br />

de night so dark you won`fin`you way home”.<br />

“Lord, Pa dem tell me sé, all we fe do is carry<br />

a box a egg, an every time im t`row cowdung<br />

and make night come, me wi`take a a<br />

egg an`t`rwo it an`sun wi`shine.”<br />

“Disabedient pickney always suffer.”<br />

“Disabediant what! Me wi` beat<br />

Tewali Bung.”<br />

So Susy gan fe laugh after Tewali Bung.<br />

Tewali Bung mek dem laugh and enjay demselves<br />

till it was getting`late. Then Tewali<br />

Bung jump up quick an`took a cow dung ball<br />

and two it after dem. All a dem begin fe run.<br />

Dem run, dem run, til dem tired. Den Tewali<br />

Bung grumble and begin fe sing.<br />

hear him:<br />

“Jang ma jerry<br />

Gad amighty, pickney yeye water so sweet<br />

Whe you tink a whole a bady?<br />

Susy cried out, “Lawd pupa, a should a hear<br />

you.”<br />

Tewali Bung trow another cow-dung ball.<br />

Night come on again and Tewali Bung run,<br />

and run dem down. When Tewali get close,<br />

Susy trow another egg and daylight stop<br />

Tewali just wen him going hol Susy. Him<br />

couldn move. You see, Tewali can walk in<br />

a daylight either. Him have fe walk a night.<br />

Den Tewali trow him cow-dung ball and grab<br />

after Susy, but Susy bawl fi-she pupa, for she<br />

da get close home and Susy pupa trown egg<br />

an grab Susy, so Susy get way from Tewali<br />

Bung. Dats fe why pickney musnt be disabediant.<br />

Disabediant children wi always get in trabl.<br />

REDEFINING AFROPANAMANIAN<br />

DRESS<br />

BY: NINNA OTTEY<br />

notteymc@gmail.com<br />

Him run down Susy and grab after she. Susy<br />

eye water de run so fas she fargat de eggdem,<br />

she pupa give she fe trow. When she<br />

`member de egg-dem, she trow one egg.<br />

Daylight come back. Tewali jus`gong hol`-<br />

Susy but only she eye water him taste. Den<br />

3 4


FASHION<br />

ETHNICITIES<br />

Celebrating The Black Ethnicity month during<br />

in Panama has become increasingly distinctive<br />

in our country. Each day, there is an event<br />

to attend, a forum where can share our experiences<br />

as Afro-descendants or simply celebrate<br />

the contributions of our ancestors.<br />

There’s always someone asking for codfish<br />

fritters, for music from the Beachers at parties<br />

or asking to listen to the resonance of a<br />

Congo drum, but celebrating the month of our<br />

culture also means wearing the right attire<br />

with pride and respect.<br />

The search of the African fabrics are increasingly<br />

in the textile stores and popular streets<br />

of Panama City. There is no mother who hurriedly<br />

searches for or a good suit or dress for<br />

the events of their children’s schools during<br />

the Black Ethnicity Month.<br />

Canal’s construction and the influence of<br />

Black Power and Black is Beautiful of the African-American<br />

culture; They make our culture<br />

a true melting pot.<br />

The clothing does not escape from it.<br />

Below is shown a series of explanations about<br />

the different fabrics and clothing that you can<br />

use during this month and represent our cultural<br />

legacy with respect.<br />

ETHNICITIES<br />

How do I get dress my son/daughter? What<br />

are the typical attires of African culture or the<br />

African diaspora?<br />

These are some of the questions I have heard<br />

every single year from people who have no<br />

idea how to represent our culture. The society<br />

has forgotten to instruct our people about negritude<br />

that, it is not surprising to find people<br />

who sell fabrics or dresses with animal prints<br />

as “black costumes for the Black Ethnicity<br />

Month”.<br />

Among the rich and varied expressions that<br />

our African heritage has the language of the<br />

fabrics and the different types of clothing is<br />

one of the representatives symbology of the<br />

culture. Each attire is loaded with historical<br />

messages that are transmitted from generation<br />

to generation.<br />

Today we, the afro-descendants, use this clothings<br />

as a symbol of resistance and reaffirmation<br />

of our negritude. In Panama we are<br />

fortunate to have an incredible diversity of<br />

traditional clothing that represents the pride<br />

we have for this heritage.<br />

The mere fact of being a country where all<br />

kinds of currents are mixed: from the descendants<br />

of slaves during the colonial period,<br />

the arrival of the Antilleans for the Panama<br />

Afrocolonial Attire:<br />

One of the best known afro costumes in Panama<br />

are those of the Congo culture. It is said<br />

that they came from Central Africa to the isthmus<br />

and formed 70% of the population in the<br />

Isthmus of Panama. The black Maroons, who<br />

lived in areas further away from the larger<br />

towns, managed to preserve their ancestral<br />

customs. Among them was the population we<br />

call congos, given the name due to the great<br />

origin of black slaves arrived in Panama from<br />

the Bantu ethnic group of the Congo.<br />

Congo Women’s Clothing<br />

It consists of a shirt that can be white with<br />

long sleeves or three-quarters sleeves to represent<br />

women of high rank, or a simply pylon<br />

style with several pieces of cloth. The pollerón<br />

must be of one to three stretches of patterned<br />

or smooth fabrics and must reach the head<br />

with the arms extended. The accessories are<br />

varied: up of seven necklaces, large earrings<br />

equal or uneven, bracelets and several rings.<br />

Congo Men’s Clothing<br />

The men use their clothes upside down and<br />

old, coconut straw hats adorned with feathers,<br />

shells, mirrors or basins, and paint their faces<br />

with charcoal as a symbol of rebellion. The<br />

king or Juan de Dios wears a smaller crown<br />

than the queen’s. The strings and strips allude<br />

to the chains of slavery. The dress is complemented<br />

by a conical hat and cane, giving a<br />

parodic effect.<br />

Another of the typical costumes that represent<br />

the Afro-colonial culture the Cachimba<br />

Portobeleña. Although it is almost unknown,<br />

it was widely used in the mid 1800s and during<br />

the beginning of our republican era. This<br />

clothing was used by the black population of<br />

purchasing power, social status and academics.<br />

In this typical costume we can already notice<br />

the influence and arrival of Afro-Antilleans in<br />

the country.<br />

Antilles’ Influence<br />

The first migratory wave of Afro-Antilleans<br />

to the country was in 1844 during the construction<br />

of the railroad in Panama. They came<br />

from countries such as: Trinidad, Jamaica,<br />

Barbados, Guadeloupe or Martinique. Most<br />

of them stayed in Panama in the province of<br />

Colón and others moved to Bocas del Toro to<br />

work on banana cultivation. The next wave<br />

was in 1880 for the construction of the Panama<br />

Canal since the hands of the French<br />

5 6


FASHION<br />

ETHNICITIES<br />

company.<br />

The workmanship in this mega architectural<br />

structure is one of the greatest legacies that<br />

our Afro-Antillean ancestors could have left<br />

us, but they also brought their typical Caribbean<br />

costumes to our country:<br />

Quadrille Dress and Madras<br />

This is the name given to the traditional<br />

feminine costume of the Caribbean countries,<br />

specifically Jamaica, Trinidad, Dominica<br />

and Haiti. The suit consists of a<br />

three-quarter sleeve white shirt, usually a<br />

skirt with a plaid fabric called Madras of<br />

Indian origin brought by the English to the<br />

Caribbean. Among the accessories, they<br />

use a headwrap of the same fabric.<br />

ETHNICITIES<br />

ETHNICITIES<br />

Pollera Bocatoreña<br />

In the traditional dress of the province we<br />

can notice the strong influence of the Caribbean<br />

not only in the clothing, but in its<br />

gastronomic representation within the attire.<br />

Consists of a flower skirt with an apron,<br />

a white shirt and a headwrap to match the<br />

skirt. It is used for dances with calypso and<br />

for Palo de <strong>Mayo</strong> dance.<br />

Caribbean Dandy<br />

Gentlemen wears white shirts, black dress<br />

pants with suspenders and a beret, revisiting<br />

the traditional clothing of western Europe,<br />

specifically the English and French.<br />

Influence of West Africa<br />

Most of the Afro-Antilles who moved to<br />

Bocas del Toro during 1880 are of Ashanti-Fante<br />

origin. Thanks to them, many of<br />

the traditions of West Africa that were lost<br />

during the colonial era were recovered.<br />

As I mentioned earlier, the majority of Maroon<br />

blacks in Panama came from central<br />

Africa (Congo and Cameroon). However,<br />

it has been discovered by several anthropological<br />

studies that enslaved people<br />

from Western Africa also arrived: Angola,<br />

Guinea, Ghana, Cote d’Ivoire, Gambia and<br />

Senegal. Many of these data were lost during<br />

the colonial period because of the little<br />

interest of the Spaniards in maintaining<br />

a migratory record of the different African<br />

ethnic groups.<br />

For this and other reasons, Afro-descendants<br />

also honor this type of clothing, because we<br />

are also the children of Africa:<br />

Women’s clothing<br />

Women usually wear a dress consisting of<br />

a shirt and a long skirt of the same fabric,<br />

either plain, lace or printed next to a headwrap<br />

or the traditional Gele of Nigeria with<br />

different ties that carry various meanings.<br />

You can know through a headwrap if a woman<br />

is married, widowed or single.<br />

7 8


FASHION<br />

Men’s Clothing<br />

Men wear a long robe called Babban-Riga<br />

of the Hausa-Fulani ethnic group or the<br />

Yoruba equivalent version called Agbada.<br />

As an accessory they use the hat called<br />

Kufi that is of religious origin (Christian,<br />

Muslim and Jewish) and with symbolism<br />

of authority, wisdom and status.<br />

Kente<br />

ETHNICITIES<br />

The Kente cloth is part of the Ashanti culture<br />

in Africa. It is a fabric that is woven in<br />

cotton or silk. The colors must-used are:<br />

blue, green, yellow, red and magenta and<br />

geometric patterns. The African Diaspora<br />

uses this cloth as a vindication of the native<br />

peoples. It is mostly used by men as if it<br />

were a robe and women use it as a skirt or<br />

wear a patch as a scarf.<br />

Resistance and Negritude<br />

The African-American influence can be<br />

seen in the use of fabrics such as the famous<br />

Ankara or African Wax Print or by the<br />

use of shirts such as the Addis Ababa also<br />

known as Dashiki.<br />

Addis Abeba/ Dashiki<br />

Is a colorful garment for men, widely used<br />

in West Africa. This fabric was created by<br />

Vlisco in 1963 inspired by the decorations<br />

of the Ethiopian tunics. It had its apogee<br />

in the United States during the Civil Rights<br />

Movement and Black Power Movement in<br />

the sixties when symbolic characters of<br />

these movements began to use it. It became<br />

popular when people from the television<br />

show Soul Train started to wear it.<br />

This cloth today, can be worn by men and<br />

women.<br />

Bogolan Mali Mudcloth<br />

This fabric is native to Mali, and is created<br />

by Bamana women using clay for the tincture<br />

and leaves of a local tree to create motifs<br />

called adrinka.<br />

9 10


FASHION<br />

Indigo Adire Eleko Cloth<br />

Adire is the name given to the cloth dyed<br />

with indigo produced by the Yoruba women<br />

of southwestern Nigeria using a variety of<br />

resistant dyeing techniques such as tiedye.<br />

African Wax Print/Ankara<br />

Currently, it is the most recognized fabric in<br />

the world and is used in Panama to make<br />

traditional costumes during the month of<br />

May to copy the elegant attire of women<br />

and men of West Africa, an area where Use<br />

this type of fabric. This cloth, even when it<br />

carries the name “African” is not native to<br />

the continent.<br />

It all started when in the nineteenth century<br />

the Dutch people came to West Africa to<br />

take soldiers for their troops in Indonesia<br />

where they were made by applying the wax<br />

on a cloth to create a pattern (Batik fabric).<br />

The Africans of this army were fascinated<br />

with this beautiful work, the beauty and color<br />

of these fabrics, so they decided to take<br />

this technique to their country of origin<br />

(most of Ghana).<br />

Currently the diaspora has also started<br />

using this fabric to make Western garments<br />

with it, attracting worldwide interest.<br />

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estar aquí!<br />

Para mayor información<br />

contáctenos a:<br />

info@ethnicitiesmagazine.com<br />

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11


ETHNICITIES<br />

THE AFRO-PERUVIAN POPULATION<br />

IN THE MEDIA<br />

with names such as bold/bold or panther).<br />

In addition, it is possible to find another reality<br />

related to the representation of Afro-Peruvians,<br />

who are in a high percentage of<br />

comedy programs in which a standard has<br />

been generated for their physical representation.<br />

In this sense, the image of Afro-Peruvians<br />

and Afro-Peruvians is built on the<br />

basis of blackface and the exacerbation of<br />

physical features -located with the help of<br />

facial prostheses specifically of noses and<br />

lips-; and personality traits related to laziness<br />

and low intellectual capacity.<br />

However, there seems to be a contradiction<br />

between the opinions of consumers of<br />

these products of the media and opinions<br />

related to the role of the national media in<br />

the promotion of discrimination. Two different<br />

public opinion surveys conducted<br />

in the same year in different months show<br />

that, while more than 70% of respondents<br />

recognize that the media promotes discrimination,<br />

more than 50% do not find these<br />

programs offensive.<br />

ETHNICITIES<br />

pect and delegitimizing the actions of civil<br />

society for his permanent retirement from<br />

television.<br />

In a context in which the national media<br />

do not adequately represent ethnic diversity<br />

and the presence of Afro-Peruvians is<br />

almost nil, the use of parody to represent<br />

them could have a relevant implication in<br />

the social perception of this ethnic group.<br />

On the other hand, the contradictory responses<br />

to characters found in the national<br />

media can be understood, on the one hand,<br />

as a consequence of hegemonic ideologies<br />

that hinder the debate on discrimination<br />

and racism in Peru; and on the other hand,<br />

as a consequence of the contradictory<br />

conscience that operates as a mechanism<br />

of self-protection to avoid recognizing its<br />

position of subordination in society.<br />

13<br />

BY: ANA LUCIA MOSQUERA, B.A.<br />

One of the most visible ways in which racism<br />

manifests itself is through the representation<br />

of negative images, the reproduction<br />

of negative stereotypes and the<br />

justification of racist attitudes in the national<br />

media. These representations become<br />

more important considering the great<br />

influence of the media in Peru, which have<br />

a great impact on public opinion and are<br />

taken as a reference to build social images.<br />

The common stereotypes by which<br />

Afro-Peruvians are identified have been<br />

continuously exhibited in audiovisual media<br />

through systematic discrimination in<br />

the roles they occupy, and the standardized<br />

image that is generated in the comic<br />

programs of the national television where<br />

the use of blackface is accepted and socially<br />

accepted stereotypes are reproduced<br />

without taking into account their potential<br />

risk.<br />

The representation of the Afro-Peruvian<br />

population in the media is a reflection of<br />

the prejudices and stereotypes related to<br />

social, historical and cultural factors. These<br />

collective images are reinforced and reproduced<br />

in the national media, which generally<br />

portray Afro-Peruvians and Afro-Peruvians<br />

as beings with little intellectual<br />

capacity, prone to criminality and commonly<br />

placed in positions of subordination.<br />

When analyzing these representations, it is<br />

possible to identify two clear situations: the<br />

first is related to the lack of visibility of the<br />

Afro-Peruvian population, which is underrepresented<br />

in an industry that has maintained<br />

a homogeneous image associated<br />

mainly with people with fair skin; and the<br />

second associated with limited participation<br />

of the Afro-Peruvian population in these<br />

spaces.<br />

To delve into this, it is necessary to refer to<br />

a simple search in the national media, to<br />

identify that the roles assigned to Afro-Peruvians<br />

in genres of fiction and non-fiction -<br />

mostly on television - are limited to placing<br />

them in secondary positions; or to places<br />

where they are highly racialized (identified<br />

In a society like Peru, the controversy generated<br />

by the existence of offensive characters<br />

for the Afro-Peruvian community<br />

opens a necessary debate on what is considered<br />

racist and the need to publicly express<br />

the rejection of this type of images,<br />

which are not exclusive to the Afro-Peruvian<br />

population, but they extend to other<br />

ethnic and racial groups.<br />

In this case, the presence of contradictory<br />

conscience is evident, since it can be inferred<br />

that public opinion finds a relationship<br />

between the media and racial discrimination.<br />

There is still no public position<br />

of rejection of characters that reproduce<br />

that have contributed for years to the perpetuation<br />

of negative stereotypes of the<br />

Afro-Peruvian population. Instead, these<br />

characters have received support from public<br />

figures and his existence has been justified<br />

in the great acceptance he has. This<br />

acceptance also extends to the Afro-Peruvian<br />

community, since one of the strategies<br />

to defend the existence of these characters<br />

was to request the support of Afro-Peruvian<br />

artists who publicly advocated for its<br />

permanence, highlighting its humorous as-<br />

14


ETHNICITIES<br />

ETHNICITIES<br />

Amo mi raza<br />

porque ha sido odiada<br />

de siglos en siglos<br />

bajo la rotación msma<br />

de todos los signos y sistemas,<br />

Amo a mi raza<br />

esclavizada<br />

ofendida<br />

mancillada<br />

segregada<br />

y hasta negada.<br />

FASHION TRENDS<br />

AMO A MI RAZA<br />

Author of the Poem: Gerardo Maloney<br />

Fashion TRENDS this month:<br />

Vina Yetman Photographer<br />

Amo a mi raza<br />

porque adonde quiera que vaya<br />

la encuentro compartiendo los mismos<br />

sueños<br />

que naufragó desde entonces en la travesía<br />

“a veces esa palabra libertad.”<br />

Amo a mi raza<br />

porque con toda esta generación de dureza<br />

como la corteza de la tierra árida<br />

que ha tenido que suavizar<br />

no ha perdido aún su casta bravía.<br />

Amo a mi raza<br />

negra, fuerte y vigoroza<br />

que lleva entrecejas<br />

el misterio silencioso<br />

de un triunfo que se viene.<br />

Garbo by Greta who dressed the model.<br />

LadyLu Vintage Store who made the crown<br />

and accessories that the model is wearing.<br />

Model: Mélida Asprilla<br />

Make up: Dérika Bulgin Mymakeuppty<br />

Amo a mi raza<br />

porque tú quieres que la olvide<br />

que la niegue<br />

que la ignore<br />

que acepte que ni siquiera<br />

debe pertenecerme.<br />

15 16


ETHNICITIES<br />

ETHNICITIES<br />

Amo a mi raza<br />

porque ustedes aman a la suya...<br />

y la portan a toda honra<br />

como prueba de vergüenza y de<br />

grandeza<br />

civilización e historia.<br />

Amo a mi raza<br />

porque ese amor<br />

es impulso de nuestro mañana<br />

digna y reinvindicada<br />

Diferente...<br />

Sobre todo por eso<br />

Amor a mi raza.<br />

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ETHNICITIES<br />

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estar aquí!<br />

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contáctenos a:<br />

info@ethnicitiesmagazine.com<br />

www.ethnicitiesmagazine.com<br />

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ETHNICITIES<br />

moisturizer, rub the two together and apply<br />

with your fingers as you would a moisturizer.<br />

This will help you even out your skin<br />

tone while moisturizing your skin. Saves you<br />

time by combining two steps in one (You’re<br />

welcome).<br />

2. Black Mascara<br />

Applying a volumizing (thickening) and lengthen<br />

Mascara defines your lashes and enhances<br />

your eyes. .<br />

ETHNICITIES<br />

3. Blush<br />

Applying blush on our cheeks adds a warmness<br />

to our skin, providing a youthful and<br />

healthy glow.<br />

4.Lipstick<br />

A Dark or Nude lipstick screams sophistication<br />

and easily elevates a look.<br />

WAKE UP AND MAKE UP<br />

BY: SAMARA CATHERINE WALLACE-NOYOLA, B.A.<br />

5.Setting Spray<br />

This item is not a makeup per se, however<br />

it serves multiple purposes for makeup: 1.<br />

It sets your make up by providing a longer<br />

wear time. 2. You can use it to create your<br />

desired finish either dewy or a matte.<br />

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“Wake up and Makeup”- Easier said than<br />

done. I mean who doesn’t want to put their<br />

best face forward when stepping out for<br />

the day? It is true that applying a full face<br />

of make-up can be quite time consuming<br />

and with an already hectic schedule of early<br />

morning, morning routines, family obligations<br />

and not to mention, trying to beat<br />

morning traffic. It can be hard to find any<br />

extra time to spend on primping. What if I<br />

told you that in just 5 minutes with 5 make<br />

up items you can achieve a put together<br />

polished look to start your day.<br />

In this edition of Beauty Express, we share<br />

our 5 item in 5 minutes easy make up routine.<br />

Here are our 5 essential makeup items for<br />

our 5 in 5 makeup routine:<br />

Tinted moisturizer –Mascara- Lipstick<br />

Blush -Setting spray<br />

1. Tinted Moisturizer<br />

Skip the foundation, Grab a tinted moisturizer!.<br />

A tinted moisturizer is a moisturizer<br />

with a tint of color in it providing lighter coverage<br />

than a foundation. If you don’t have<br />

one that is prepackaged, you can easily<br />

make you own by using a small amount of<br />

your favorite foundation with your favorite<br />

With all the different types of make-up product<br />

that exist we selected these items<br />

because they easily enhance our unique<br />

features: our skin, eyes and lips. Applying<br />

make-up to these areas can accentuate our<br />

beauty in a short amount of time.<br />

Do you have a quick and easy make up routine?<br />

we’d love to hear about it. Share it at<br />

samaracatherinemua@gmail.com<br />

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ETHNICITIES<br />

TRANSFORMATION…<br />

THE ROUTE TO A BEAUTIFUL PATH<br />

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estar aquí!<br />

Para mayor información<br />

contáctenos a:<br />

info@ethnicitiesmagazine.com<br />

www.ethnicitiesmagazine.com<br />

Síguenos en:<br />

BY: JESSICA BERNARD, B.A.<br />

infojessicab@gmail.com<br />

www.jessicambernard.org<br />

What is internal transformation? Is it a kind of metamorphosis or simply a change<br />

generated from within? In essence it comes from a mixture of both. It is the<br />

act of self-acceptance and the determination to transform what surrounds us.<br />

Every transformation starts from within, from the depths of your being. It is the<br />

acknowledgement or recognition of the of our behaviors and finally saying”Enough<br />

is enough is enough!<br />

Changes take place when we look internally at what our actions have been; which<br />

have made us happy and which have not. It is a review of the internal chapters of<br />

your life and know which books to draw from your own library; but those changes<br />

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SPIRITUAL<br />

ETHNICITIES<br />

are not simple, they are rooted in our behaviors<br />

acquired over the years.<br />

Reprogramming our thoughts is possible,<br />

which can lead to adopt new behaviors in our<br />

actions, feelings and spoken words. The transformation<br />

is closely linked to how our being vibrates<br />

in each moment. It can be vibrations<br />

of love, pain and fear to mention a few. The vibrations<br />

of fear are the most common and they<br />

tend to generate energies of fear in our environment.<br />

Leaving our zone of &quot;comfort&quot;, generates<br />

attitudes of fear that therefore tend<br />

to block our desires and impetus to perform<br />

actions that we know will be beneficial for us.<br />

Always think that the &quot;best is yet to come&quot;<br />

... that’s right, but your positive attitude<br />

will depend on the desired result. Reprogramming<br />

our mind is not easy, but not<br />

impossible. It is to perform simple exercises<br />

such as, for example, being more aware of what<br />

we say and do. It is to implement thoughts of<br />

action and result before we actually perform<br />

them. It is to think that you are a capable, a virtuous<br />

person and able to give yourself satisfactions<br />

of life that others cannot give you.<br />

Always remember that those around us are<br />

part of our existence, our happiness and wisdom,<br />

but NOT the only reason for our true happiness.<br />

Reprogramming our self is trusting in<br />

that Supreme Being that you have as central<br />

axis in your life. Know that everything is in perfect<br />

order and in perfect balance. It is knowing<br />

that behind the curtains, a masterpiece is being<br />

planned for the actor, in this case YOU.<br />

It is time to reprogram yourself, to empower<br />

yourself as a virtuous being, a being of light and<br />

be able to achieve your goals. It is to understand<br />

that in the face of adversity or the bombardment<br />

of “foolish” words, avoiding or ignoring<br />

them will have a stronger meaning for you.<br />

The sky is the limit and your canvas are blank.<br />

Paint it as you want ... paint it with bright colors,<br />

that represent what you are inside ... a splendid<br />

rainbow of eternal light.<br />

Do not take NO for an answer! Try to understand<br />

the words said previously that once hurt,<br />

they were just that ... words! Your mission is<br />

unique and true, is to elevate yourself and know<br />

that what have been said to your previously are<br />

only myths that revolve around you, but that do<br />

not define the essence of who you really are.<br />

It depends on you that your own reprogramming<br />

is unique, successful and lasting. It will<br />

not be an easy path, but it is accessible to you,<br />

full of unique opportunities. Do not let loneliness<br />

tarnish the path that is outlined for you.<br />

Fill yourself with illusion and ask your Supreme<br />

Being to fill the empty spaces of your heart. You<br />

will see that your vision will be clearer and full<br />

of more hope.<br />

LUNA LLENA DE TAMBORES<br />

SOCIALS<br />

ETHNICITIES<br />

Reprogram the “I cannot”, for “I can” ... understand<br />

that you are worthy of all that your heart<br />

desires, but in return also understand that the<br />

facts are given at their perfect time and not<br />

at the time that you want them. It is knowing<br />

that as we recognize that we fail, we are giving<br />

ourselves the power to rectify those behaviors<br />

that we want to change in order not to generate<br />

them again in our life journey.<br />

Closing of black<br />

Ethnicity month,<br />

Colón<br />

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SOCIALS<br />

ETHNICITIES<br />

ETHNICITIES<br />

27<br />

SOCIALS<br />

PHOTOS BY: FLASH ANY<br />

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SOCIALS<br />

ETHNICITIES<br />

ETHNICITIES<br />

AFRICAN FASHION FESTIVAL INTERNATIONAL <strong>2018</strong><br />

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SOCIALS<br />

ETHNICITIES<br />

AFROFESTIVAL INTERNATIONAL PANAMÁ <strong>2018</strong><br />

ETHNICITIES<br />

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SOCIALS<br />

ETHNICITIES<br />

BLACK ETHNICITY PARADE<br />

ETHNICITIES<br />

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3RD BLACK ETHNICITY FESTIVAL<br />

OF LA CHORRERA<br />

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ETHNICITIES<br />

ETHNICITIES<br />

35<br />

DANAIS<br />

EVENTS<br />

With the support and participation<br />

of Cocaditas Panama, Afrorizospty,<br />

Spa Curly, Danais Natural<br />

Cosmetic, on May 19, an<br />

event to commemorate Black<br />

Ethnicity Month was held at the<br />

City of Knowledge Urban Market<br />

facilities, with the main objective<br />

of highlighting the African<br />

ancestral heritage, knowing<br />

origins and breaking with wrong<br />

traditions, for which many people<br />

can repress to show off their<br />

natural curly or afro hair.<br />

Taking advantage of the monthly<br />

event held by the Urban<br />

Market to promote entrepreneurs<br />

of organic products and<br />

local artisans in the facilities of<br />

the City of Knowledge, where<br />

a varied influx of both national<br />

and foreign people in search of<br />

organic and high-quality products,<br />

meets gave us a space<br />

for entrepreneurs related to<br />

proposals related to the Black<br />

Ethnicity to make Workshop<br />

Turbans sponsored by Cocaditas<br />

Panama, Conference Breaking<br />

Myths about Curly Hair dictated<br />

by Afrorizospty, Spa Curly<br />

presenting different options to<br />

show hairstyles for curly and<br />

afro hair, Danais Natural Cosmetics<br />

Benefits of Using Natural<br />

Cosmetics to show healthy<br />

hair and take care of our health.<br />

The event was quite instructive,<br />

good participation of the attendees<br />

in the theme, which was<br />

awarded with turban gifts, products,<br />

courtesies for the use of<br />

the Curly Spa and discounts on<br />

the acquisition of the products.<br />

.<br />

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Photograph: Stephany Salazar<br />

#visitPanamá

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