ekottomagazine
BASAKATO YEYEIBA
MASTHO RIBOCHO
Ë KOTTÒ, is a magazine of the cultural field in all its disciplines.
We are committed to bringing culture closer to our readers. Our goal is to give visibility to sectors that lack this opportunity of presence in large media platforms.
Our publications will be monthly and we will focus on four basic sections and four complementary ones.
INFORMATION, INTERVIEWS, ACTIVITY AND PROMOTION, and SOKKÒ, ËTYÖ LAÖTYA, OPINION y EDITORIAL
INFORMATION: Its content will be based on knowing the path of our guests. That is, what you could call their biography.
2. INTERVIEW. Focused on the professional field.
3. ACTIVITY: Focused on our guest's current affairs.
4. PROMOTION: Publicize everything related to the works of our guest or in its case what it believes necessary to promote related to his or her professional work.
SOKKÒ
It is a section with a variety of socio-cultural news.
ËTYÖ LAÖTYA
It is a section of learning and knowledge about the Bóbë-Bubi identity in its different manifestations.
OPINION
It is a section for sociocultural opinion articles.
EDITORIAL
A general story on a specific theme of each edition.
With the magazine Ë KOTTÓ, we will bring culture a little closer to our homes.
Editorial
TALENTED WOMEN
Moving forward and without losing sight of the road we have traveled, we have reconnected with these talented women, who at some point passed through the editorial office of this cultural adventure of written digital press.
It all began in April, when Las Sonrisas de Rile'o, a traditional bubi dance group, KATYÁ, agreed to participate in this digital adventure. That was the beginning of Ë Kottò magazine.
IYABULE gave us the opportunity to interview her to make the beginning of this project a reality. She told us about her Rile'o Smiles.
BIËTÁA's initiative impressed us so much that we could not pass up the opportunity to listen to her and capture her stories in our pages.
LOUMA, with her work full of impressive colors through painting, touched our hearts. We contacted her and, since that day, we have been active followers of her social networks to follow her wonderful work.
BILE'È convinced us from the moment we were lucky enough to read some of her work. Our editorial team mobilized to follow her social networks and contact her directly, with the goal of making her part of this cultural family of digital press.
It is an honor to have them back in the pages of Ë Kottò Magazine and to tell our readers about their projects that have come true and those that are yet to come in their respective agendas.
As always, they never disappoint and, based on the responses obtained in the interviews in this edition, we are convinced that our readers will once again be able to enjoy the work of these personalities from the world of culture.
Dance, poetry, painting and good reading represent these four talented women. They are direct transmitters of the present and future of a universal cultural identity with roots.
Simply, to all of them, once again: POTÓO-THANK YOU.
Story
JEN TYES - BIËTÁA
I was born in Buffalo, New York. I attended a performing arts high school where I gained a love for the arts. I use my writing as a way of expressing my creativity and my truth. My purpose for writing is to write what I want to read, motivate others to do the same, and inspire readers.
I began my blog,www.aim4equanimity.com in 2015 in an effort to help myself find equanimity, express my spirituality, and openly share my whole self with the world. Blogging is my way of presenting thoughts and ideas. Through my words, I hope to be a voice for those who don’t have one.
In 2018, I became a published author, self-publishing my first speculative fiction novel, Not This Time. I have since published two novels, four short stories, and was a contributing
author in four anthologies, one of which I joined my female coauthors in telling the story of our military experiences.
Watching my writing journey, my children realized they had something to say as well. I created the brand in an effort to foster their love for writing and literature. Through Mommy & Me Storytime®, my children and I have published two notebooks and two children’s picture books.
Upon discovering my Öbóbë heritage and studying Ëtyö, my eight year old son and I decided to write a children’s counting book in English and Ëtyö. We enjoy learning about our heritage and writing fuels more learning that he can carry into adulthood and I can share with the future generations. My ultimate writing goal is to write the story of my African Diaspora family history and how discovering my roots in Bioko Island has positively impacted my identified.
SHARON JONES - BILE'È
Sharon Jones was born in the city of Shreveport, Louisiana, and raised in the rural area of Coushatta, Louisiana, in the northwest region of the state. Her early life was shaped by humble beginnings. Sharon traveled to San Francisco by bus with only a handful of change, seeking a better life. She has resided in California for many years. She holds degrees from Southern University in Baton Rouge, Louisiana, the University of Phoenix in Pleasanton, CA, and the University of Phoenix in Lathrop, California. Her educational accomplishments include a BA in Rehabilitation Psychology, a Master of Science in Organizational Management, and a Master of Arts in Marriage, Family, and Child Counseling.
Sharon is a licensed Marriage and Family Therapist in both Michigan and California, and her professional journey spans over three decades in the field of behavioral healthcare. Her experience encompasses various roles, such as providing care to children in residential treatment settings, delivering mental health outpatient services for both children and adults, offering crisis services for domestic violence and sexual assault, engaging in foster care and shelter services for the homeless, and assisting adults with disabilities and health issues. Her work also extends to inpatient psychiatric hospitalization care, partial hospitalization care, day treatment, and private practice. She is dedicated to providing interventions that address depression, anxiety, trauma, relationship dynamics, and family stressors, offering an environment of recovery, hope, and comfort to clients in need of transformation.
Currently employed at Merced County Behavioral Health and Recovery Services, Sharon serves as the Mental Health Services Act (MHSA) Coordinator and Ethnic Services Manager. Her current role involves dedicated work towards MHSA Program development, conducting culturally responsive and stigma reduction training, engaging in community stakeholder planning processes, and fostering collaborations within diverse communities. Sharon is certified as a group facilitator and Resident trainer through the California Institute of Behavioral Health Solutions, specializing in California Brief Multicultural Competency Scale Training. She is also trained in Mental Health First Aid for Youth and Adults, Raising the Emotionally Healthy Child, safeTALK, and Applied Suicide Intervention Skills Training (ASIST). Among her achievements, Sharon has designed innovative programs such as the Strengthening Families Program, Innovative Strategist Network, and the Transformational Equity Restart Program.
Furthermore, Sharon actively contributes to various committees, including the California Behavioral Directors Association (CBHDA) MHSA Committee, CBHDA Cultural Competence Equity Social Justice Committee, and Mental Health Oversight and Accountability Cultural and Linguistic Committee. At the local level, she facilitates the MHSA Planning Council, the Cultural Humility Committee, and the Prevention and Early Intervention Quarterly Meeting.
Sharon has also established a private practice called Alabaster Moments and recently authored and published two books: "Alabaster Moments," celebrating healing and transformation, and a poetry book titled "The Pouring of Alabaster." Her writing has been featured in several anthologies, including the International Day of the Girl Pandemic version, "Houses of Light," "Divine Feminine Awakening," and "Rising Above Narcissistic Abuse." She is currently working on a chapter for an anthology titled "Moving Beyond the Programming of the Mind."
The concept of Alabaster Moments emerged from years of collaborating with individuals who focused on their negative experiences. Sharon believes that even amidst challenging times, everyone has experienced moments of positivity that are overshadowed by negativity. By shifting one's focus toward these uplifting moments, individuals can create a life enriched with positive experiences, self-confidence, self-esteem, and overall well-being. Sharon promotes the idea that we must intentionally cultivate Alabaster Moments, comparing them to precious gems. This intentional practice helps individuals radiate positive energy, find purpose, and experience a sense of sacredness in their lives. Sharon encourages others to view themselves as valuable gems, and she defines Alabaster Moments as intentional instances of therapeutic release, rejuvenation, relaxation, healing, and renewal.
Sharon draws inspiration from two guiding quotes: Maya Angelou's "I come as one, but I stand as 10,000" and Dr. Albert Schweitzer's "At times our own light goes out and is rekindled by a spark from another person. Each of us has cause to think with deep gratitude of those who have lighted the flame within us."
LOUMA
LOUMA, pseudonym of Maria Lourdes Babasasa, is a self-taught French artist. Born in Equatorial Guinea but of Spanish origins (on her mother’s side). She spent her childhood in Guinea, her birth land, in Nigeria, where her family had to take refuge due to the consequences of a military regime in Guinea, and in Spain (historically, Equatorial Guinea was the first Spanish colony).
As a teenager, she moved to France with her family in the late 1980s. The quest for identity became a central subject, to know herself in order to accept herself and find her own place everywhere.
2020 was a decisive year: the creative desire started imposing itself, and painting became something obvious. LOUMA takes refuge behind simplicity as a way for her to transcend her frailties but, above all, she makes simplicity her leitmotif where she lets the unconscious free itself and going against others. Through her canvases, LOUMA reveals her true deep and intimate nature, her taste for life, the joy of the dynamic, her femininity (through her choices of colors) inspired by cubism, symbolism, naive art so as to create a dialogue with youth (her true source of inspiration).
Interest in digital art has recently increased in the creative world of The Artist.
SONRISAS DE RILE'O
The group of smiles was founded in 2015 with only one idea, to dance in the patronal feast of our town Basakato de la Sagrada Familia that same year.
This year was amazing. We had a choreographer from Ceiba Bonay Balet and singer Piruchi Apo.... Who saw the group and were encouraged to join the first cause... NO TO GENDER VIOLENCE.
After so many years, the people returned to have on stage a mix of women of different ages dressed in TEKA and singing a Capela songs that were practically being lost ... The best moment is when everyone was silent to listen to us. Don't cry because my smile should have come out better.
Well after this great performance, which I liked a lot, we were advised not to dissolve the group and told that we would go far and so it was.
On 02/21/ 2016 for the first time, Basakato participated in the activities of the Bubi mother tongue festival. They took us to represent the village.... It was the most talked about in this whole edition.
On March 8 of the same year, we had to go to the cathedral to dance in the middle of the mass, during the offering.... It was broadcasted on TVGE and ASONGA. From there they began to call us for particular events such as weddings, baptisms, communions, patron saint festivals. SONRISAS de RILE'O sang and danced for almost the entire island. Before the end of the year, the group was dissolved due to a misunderstanding. I would not even know how to explain it, but it was okay because I had taken a liking to dancing and singing. I decided to continue with those who did not agree to go with the choreographer.
And so dressed, we sang in the church and made a parade throughout the village receiving money, fruits, food...... we will not forget the astonished face of the late Gilin when we arrived at his house singing.... He gave us money and blessed us.... Mrs. Tachu Belobe sang and danced with us in her house, so she learned a few toques....it was wonderful.
Since dancing at the Cathedral March 8, the holy family has been counting on SONRISAS de RILE’O in ABÓBË/ AVÓVË activities.
From 2015 to date, we have danced at weddings, birthdays, events such as tech campus, ideal woman, and private parties for tourists. We have enjoyed the experience and danced a lot.
People have left Sonrisas, and new ones have arrived, but we will continue to thank those who still trust us. THANK YOU.
Interview
JEN TYES - BIËTÁA
How are you?
I feel fantastic! Since learning about my Bubi heritage, I have felt more grounded in life and have taken the time to really get to know myself.
1. What is your degree of integration within the Bubi community?
The last two years have been tough for me and I have self-isolated. I have not been a big part of my Bubi community due to dealing with personal matters. Although my personal life is still complicated, I have rejoined the community and try to interact with my brothers and sisters. I am thankful to my Bubi family because several have reached out with concern and love. I will say though, Bubi music has kept me close and there are details about my Bubi heritage that continues to live through me. I feel it in my spirit and it lets me know that I am a Bubi woman through and through.
2. How has your progress been in learning your mother tongue?
My language skills have regressed during the last two years. I maintain my basic greetings and understanding. It brings me joy when I read sentences in Ëtyö and can understand what it says, even if I cannot respond in Ëtyö. This is a lack for me for all languages I have tried to learn. My strength lies in comprehension and my area of improvement has always been memory recall in order to respond. I hope to one day be able to be fluent in Ëtyö so that I can embrace my heritage even more.
3. How has the progress been with your children?
My son and I still have our counting song and will occasionally greet each other in Ëtyö. There is power in planting a seed so I will play music and say words around my children in hopes that they gain some closeness to their heritage.
4. Tell us about your literary project.
The song my son and I created inspired me to write a children’s book based on the song and our conversations. Learning a new language is difficult and I wanted to introduce a story that would help all Bubi people learn some basics of the Ëtyö language. For me, counting is a difficult area to fully comprehend so that is the focus of my book. I have been working on it for the last two years. It will be a story and activity book to help our people learn how to count in Ëtyö. It will introduce new terms, the classes and how to count in each class. I look forward to releasing this story in 2025.
5. Effective solution to address the concerns for the bubi language?
In my opinion, an effective solution to address our concerns is to continue to introduce the language to our people. I have seen social media being used, the courses being taught and books being published. I believe we need to create our own translation apps or electronic dictionaries and activity books that will continue to introduce the language. I hope to come up with other ideas that will continue spreading the knowledge of Ëtyö.
Any message for the readers?
We are all responsible for preserving our history. A lot of our history has been erased but we can take what we have today and grow our community into something better than what it was in times before. Tuë Bulé!
Interview
SHARON JONES - BILE'È
Hi Sharon.
Thank you for accepting E. Kotto's invitation for another interview which, coincidentally, comes exactly one year after the first one.
1. Last year, you shared your journey of discovering your ancestral roots as a Bubi descendant. Where are you now in that journey, and what have you learned?
Reflecting on my roots has always been a significant part of my life, always seeking to find my ancestral village and the land of my people. Seeking this connection is not merely historical but spiritual—a bridge to the divine, an energy source that fuels a fulfilling life. Through my ongoing exploration, one profound realization has stood out: the Bóóbë people, my people, are the Indigenous inhabitants of Ëtúlá á Eri, formerly known as Fernando Poo, now Bioko Island, situated in the Bight of Biafra (Gulf of Guinea), Equatorial Guinea.
Although I have yet to visit Bioko Island, my imagination has taken me there, and through stories and teachings, I have absorbed much of the Bóóbë spiritual culture. My personal growth as a Bóóbë woman is closely intertwined with this deepening connection to my identity.
I have many vivid childhood memories that came from my grandmother Mama Honey’s rituals and stories. When the sky was dark with wind and rain, she would step outside with an axe, recite the Lord’s Prayer three times, and swing the axe above her head three times before grounding it into the earth. Miraculously, the storm would calm. This practice embodied her harmonious relationship with the elements, a balance that has always intrigued me.
In addition to these spiritual practices, my grandmother’s connection with nature was evident in her everyday life. She relied on the Farmer’s Almanac to track the phases of the moon for planting and harvesting, understanding the cycles of growth and transformation. Even her advice about haircuts—cut your hair during the full moon for thickness or during the new moon for length—was rooted in this sacred connection with nature’s rhythms.
Her love for yams and cacao, both native to Bioko Island, was another subtle expression of her connection to our Bóóbë roots. Through my journey, I have come to realize that Bóóbë culture is steeped in spiritual and metaphysical wisdom, most evident in their relationship with nature and the divine.
One creation story that resonated with me is how the Bóóbë people came into existence. The sun and moon collided, and from this cosmic event, a seed fell into the water, birthing the Bóóbë who would walk upon the land. This story symbolizes the Bóóbë people’s sacred relationship with nature, the cosmos, and divine energies.
Additionally, the Bóóbë practice of burying the umbilical cord after childbirth is deeply significant. This ritual symbolizes the child’s connection to the land, with the earth now nurturing and providing for them. It reflects the Bóóbë belief in the unity of life, land, and the divine.
One of the most profound insights I have gained from my heritage is the Bóóbë people’s spiritual search for a homeland. As they traveled, they looked for smoke—a divine sign that they had found their land. Their ancestors were guided by spiritual messages in natural phenomena like smoke and fire, showing the deep trust in their spiritual connection with the world around them.
Key Aspects of Bóóbë Culture and Spirituality:
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Eri: Spirit of the land, representing the intimate bond between people and the earth.
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Ruppe: The divine fire, symbolizing transformation, desire, and intention.
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Potto: Spiritual grace, the nourishing flow that sustains life.
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Lalo: A place where divine energy descends to provide care and support.
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God as Energy: The supreme being is seen as a force of life, manifesting in various forms.
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Rituals: Daily spiritual practices like morning and evening prayers, asking for guidance, and performing libations are essential to maintain balance and connection.
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Transformation: Spiritual growth is symbolized by fire (transformation) and water (nourishment), highlighting the importance of balance in life.
Through this journey, I have come to understand God as energy—a force that flows through all things and manifests in myriad ways. This belief has also awakened me to the power of words. Words carry energy and intention, shaping reality, relationships, and future outcomes. For instance, names set the course of one’s life, whether toward life or death. Words can uplift or destroy; they either bring empowerment or sow confusion and despair.
Understanding the resonance of words has made me mindful of my own speech—always striving to speak truth, love, and positivity. In contrast, I have also learned the value of silence, knowing when to listen and reflect. There is great power in both speaking and holding back, each with its time and purpose.
My journey to reconnect with my Bóóbë roots has deepened my appreciation for ancestral wisdom, spiritual balance, and the transformative power of words. I honor the lessons of my ancestors, allowing their energy to guide me toward a fulfilling, spiritually rich life.
2. What inspired you to write your book " Bile'è, Poetic Stream Across the Water"?
The inspiration for Bile'è, Poetic Stream Across the Water came from a profound reconnection with my Bóóbë heritage and a desire to honor my ancestors, especially my fifth grandmother, Silla. Her strength and resilience during the journey of captivity across the water profoundly moved me, and authoring this book became a way to honor her legacy. I also discovered that the Bisila Goddess resides on Bioko Island, which strengthened my ties to this ancient homeland. I am reminded of my grandmothers' maternal care when I look at the Bisila Goddess. It makes me think of the daily care which the children require, therefore I want to give back to the children on the island to assist them to embrace their power and grow a stronger sense of self-worth and identity in being Bóóbë. As a psychotherapist, I was also aware of poetry's therapeutic value and the power of speaking positive words to our spirit.
This book serves as a bridge across time, healing both my own wounds and those of generations past through words. Writing poetry became an offering, a libation to the spirits of my ancestors, and a way to process the pain of displacement.
Moreover, this journey reminded me of the importance of focusing on the "WE" rather than the "I." While individuality is important, we are more powerful when we come together, especially as Indigenous people. By uniting, we can preserve and celebrate our collective wisdom—our storytelling, music, poetry, rituals, and traditions—which holds the key to our healing.
3. What is the meaning of the word " Bile'è" and why did you choose it as the title of your book?
Bile'è is a word in the Bóóbë language that carries deep significance. It represents tender love, caring, a stream of life, and a fountain of grace. This word resonated with me because it encapsulates the essence of who I am and my purpose in life: to help others live and breathe better. It symbolizes a flowing, nurturing energy, much like a stream of grace that connects me to my cultural heritage.
Choosing Bile'è as the title for my book reflects my desire to share this grace and love with others, guiding them toward restoration, life, and transformation.
4. What is your favorite poem from your new book and why?
My favorite poem from Bile'è, Poetic Stream Across the Water is "Memories in the Soil." This poem speaks to my deep connection with my ancestors and the land they once walked upon. The soil is not just earth—it holds memories, wisdom, and strength passed down through generations.
This poem reflects my journey in life: rooted in the past, connected to the present, and moving forward with the wisdom of those who came before me. It serves as a reminder of the power and resilience of my ancestors and how they continue to guide me.
5. Can you share a story about how one of your readers was impacted by your writing?
One reader shared how Bile'è, Poetic Stream Across the Water came into their life during a time of deep spiritual disconnection. They found the poems simple yet profound, offering reflections on life, spirituality, and healing. The poems brought a sense of calm and clarity, helping them reconnect with their inner peace and spiritual path.
The reader expressed that Bile'è was more than just poetry—it was a journey of self-discovery and healing. Through my words, they were able to slow down, listen to their Spirit, and find strength.
Anything else you’d like to share with the readers of E Kotto Magazine?
The Bóóbë culture is rich with spiritual teachings about energy, balance, and transformation. At its core is the belief in Ruppe, the fire of transformation, and Potto, the grace that nourishes. This balance of fire and grace is essential to our spiritual growth.
I encourage everyone to honor their roots, find balance, and connect with their spiritual path. Our ancestors walk with us daily, guiding us toward higher consciousness and unconditional love.
Ten words that reflect the Bóóbë culture’s power:
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Resilience
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Grace
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Wisdom
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Unity
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Spirit
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Transformation
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Heritage
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Balance
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Sacredness
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Harmony
Interview
LOUMA
Hello Louma, how are you?
Thank you for accepting this new contact with Ekottò magazine.
1. In your previous exhibitions, you mentioned the public's reaction to your works. After those experiences, how has the perception of your art evolved in recent exhibitions?
Hello, thank you for inviting me.
Actually, I couldn't say if the public's perception of my art has evolved or not.
What I can say is the evolution of my creative process.
2. You have worked both on canvas and in digital format. Since our last conversation, has your approach or technique changed in either of these media? How have you balanced both forms of creation?
As I mentioned earlier it is evident that my artistic approach has taken a new direction.
I may be getting closer to my own true style. At least definitely getting to LOUMA's own style.
3. In the last interview, you talked about the search for your identity through painting. Has any new personal or cultural experience influenced your recent work?
Well, I think I already know that my style is reaffirmed as time goes by.
But to be honest I think that the artistic journey is leading me towards a more universal universe than a personal one.
4. During your artistic journey, you mentioned several important discoveries. Has there been any recent revelation or key moment that has changed your way of seeing art or your creative process?
Well yes, and I think that if things move forward in some personal projects you will soon find out.
5. In the previous conversation, you highlighted the importance of young people as a source of inspiration. How has that inspiration evolved and what do you think young people today need to find their artistic voice?
I think that vocations don't always come naturally, I think that in some cases it's the opportunities that lead us to find a vocation. I think that young people sometimes need a boost.
6. Looking to the future, how do you imagine your work will evolve in the coming years? Is there any theme or technique that you have not yet explored but that you would like to develop?
My technique is purely intuitive, that way suits me and I hope to be able to perfect myself more and more.
7. In an increasingly digitalized world, how do you think traditional and digital art will coexist in the future? What role do you see for yourself in this transformation and where do you think contemporary art is heading?
It is clear that in an increasingly digitized world many artists are going to move towards a more technological art.
The first reason that made me become aware of digital art was an awareness, I thought that now that contemporary African artists are beginning to be the best in the international art scene in developed countries others are already talking about digital art, I felt it as an injustice at that time.
Thank you for being once again in the pages of Ekottomagazine.
A message for our readers?
Dear readers, thank you very much for reading these lines and above all thank you very much to Ekottomagazine for giving me visibility with your readers and above all for this beautiful initiative of cultural magazine.
Interview
SONRISAS DE RILE'O
Greetings, Delicias.
Thank you for accepting a new interview with EkottoMagazine.
The team of this project wanted to contact you again, having the privilege that Sonrisas de Rile'o was the first guest to open the doors of this magazine with an exciting publication that filled us with joy. It was the birth of this adventure in the field of cultural press.
Tell us, director of the traditional dance group SONRISAS DE RILE'O:
1. Our first question is the same as two years ago: Is Rile'o Smiles here to stay?
I know I'm getting older and the group for circumstances beyond their control are leaving, but I always or almost always meet someone on the road wanting to be part of this great family called SONRISAS DE RILE'O, answering your question I say that there is SONRISAS DE RILE'O for a while.
2. What is the secret of your traditional dance group Katyá that, after almost a decade, is still always at the forefront?
In bubi there is a saying: bote wa RIJUE e jutea wae a Chi betea. Sonrisas de RILE'O is already a family and the first members who formed this group are brothers-in-law, cousins or sisters. And I, as the promoter of this group, have always received their support. I would also like to tell you that CONTINUOUS WORK, INNOVATION, ALWAYS LISTENING TO GOOD ADVICE from people who value every effort is part of our secret.
3. Tell us about Sonrisas in the year 2024. What projects have you carried out and which ones are still to be carried out?
2024 I have called it RETAME Y TE SORPRENDO has been a year of great challenges to take a group based in Malabo and create another one in Spain has not been easy. For the first time I have danced cacha in Valencia in the festival of Montserrat de Rebola and this has been my job. Teaching girls born and raised in Spain was complicated but not impossible because I succeeded. We have been invited for the 5th of October by the city council of Madrid to a kind of intercultural carnival and at least 16 people this is the challenge we have and if we succeed we will be in other pages apart from yours that thank God you make us feel proud of what we do. THANK YOU
4. What is the magic of the members of Sonrisas de Rile'o that, wherever they go, they transmit that magic? We are talking about this seed of traditional bubi dance that is sprouting in the city of Valencia.
The Magic 🪄 is our smile, every song we dance is mandatory that we know what the message it conveys, above all enjoy. As I told you the girls learned not to listen to the bubi songs as: OLDER SONGS, because they know more or less what is the context of the song and that makes you drill or chap the bubi with your best smile and that little detail always reaches the public.
5. Taking a risk: Rile'o Smiles is the brand?
Proudly I say it out loud, WE ARE A BRAND, we will lack more constant activities to make us more echo, but we already have it is ours.
6. The million dollar question: When will we see Sitoa sá Rile'o on an international stage or, in other words, at an international ethnic dance festival?
I may have anticipated this question but on 5/10 we have a presentation in Madrid, that's just the beginning and with this experience I think we will be more than prepared for any international stage of ethnic dance.
7. If you had to make an evaluation from the birth of Sonrisas de Rile'o to date, what would be your summary, both positive and negative?
Uuufff RILE'O smiles has matured in all aspects, so much that we know how to cushion the destructive criticism, we have been able to defend ourselves even if only one dancer enjoys it as if they were all. THE NEGATIVE PART PEOPLE ARE DESTRUCTIVE, they always try to minimize a work that you have prepared in months. But well, we keep going. IF WE ARE CHALLENGED, WE SURPRISE.
Once again, thank you for accepting our invitation.
A message for EkottoMagazine readers?
For the readers of EkottoMagazine I would only say that as long as a project makes you enjoy it do not leave it even if a minority does not understand it, and in this life nothing is given away with hard work and dedication something good always comes out even if it is not for the same purpose that started the result will be success. Thank you very much for raising our voices to the top. THANK YOU
Activity
JEN TYES - BIËTÁA
Activity
SHARON JONES - BILE'È
Activity
LOUMA
Activity
SONRISAS DE RILE'O
Promotion
SHARON JONES - BILE'È
Website: https://alabastermoments.com/
Facebook: https://www.facebook.com/Alabastermoments/
Instagram: https://www.instagram.com/thealabastermoments2020/
Promotion
LOUMA
@babasasamarialourdes
Promotion
SONRISAS DE RILE'O
SONRISAS DE RILE'O EN LA FESTIVIDAD DE LA HISPANIDAD (MADRID)
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España
Contact: Heidi
Telephone: +34 664 1784 05
Contact: Anatoly
Telephone: +34 632 8268 10
Guinea Ecuatorial
Contact: Delicias
Telephone: +240 222 637 662
Contact: Nancy
Telephone: +240 222 506 801
@sonrisasderileo
Sonrisas De Rileho
OPINION
BÖSUBÓBBÈ MAY MATA
My grandfather had a girlfriend from Moeri
When a community migrates, it faces the challenge of preserving its identity. For our community, this challenge takes on special relevance. Parents and grandparents who have emigrated play an essential role in the transmission of the cultural, historical and geographical legacy to the new generations born outside the island. Without this transmission, there is a risk that young people in the diaspora will lose contact with their roots, with important consequences for their personal and community identity.
One of the main links between those born in the diaspora and their land of origin are the stories, anecdotes and knowledge that the elders - parents and grandparents - pass on. In our case, this goes beyond simple stories. It involves sharing a deep understanding of the history, geography and culture of our ancestral land. These stories not only provide information, but create a sense of belonging, an emotional connection that helps younger generations understand who they are and where they come from.
When parents and grandparents tell the stories of villages such as Moka, Rebola or Basuala, young people in the diaspora begin to visualize the mental map of the island. They know the names of the places, their legends and particularities, even if they have never visited them. These anecdotes are not only data but living lessons that shape the collective memory of a people.
The importance of transmitting the names and locations of villages lies in the power of words to evoke realities. For those born in the diaspora, knowing names like Baloeri, Batete, Riuche, or Basakato is not only acquiring geographical information, but reconnecting with the roots of their culture. Knowing that there are two Basakatos, East Basakato and West Basakato, for example, raises questions that parents and grandparents can answer with a historical and social story that goes beyond a simple geographical fact.
What we know today as surnames and were once names are also a crucial piece of the puzzle. Our young people should be aware of the fact that in our Bubi culture there are no names with the same surname. Understanding the origin and meaning of a name allows diaspora youth to better understand their lineage and their relationship to the history of their people.
Bubi village anecdotes are much more than just stories. They are narratives that explain how the ancestors lived, what values they upheld, how they dealt with environmental challenges, and how they understood the world. Such stories can range from ancestral rituals to local festivities, rivalries between neighboring peoples, or stories of mythical figures. These stories build a shared identity, a sense of belonging that is essential for people who have grown up outside their homeland.
In the diaspora, parents and grandparents are the guardians of this cultural anecdotal record, passing on values and knowledge that would otherwise be lost over time. In every story there is a lesson, a way of seeing the world that can give new generations a different perspective, anchored in their roots.
In addition to historical and cultural stories, language is a fundamental vehicle for keeping Bubi culture alive. Unfortunately, our Bubi language is in danger of extinction due to reasons that have already been discussed in several opinion articles. Passing on the language to young people in the diaspora not only ensures the survival of the language, but also strengthens the connection to its roots. Parents and grandparents who insist on speaking Bubi to their children and grandchildren are playing a crucial role in preserving the language, an act that has profound implications for cultural identity.
When members of a diasporic community lose touch with their history, geography and language, they may feel uprooted, as if they do not fully belong to either the land of origin or the host country. In contrast, when provided with a solid understanding of their culture and past, they can integrate these identities in a healthy way. Knowing where they come from gives young people the confidence to know who they are.
Therefore, parents and grandparents who pass on this knowledge to diaspora youth are not only preserving the culture, but also helping the youth develop a strong and positive identity. This will enable them to better navigate the world, feeling part of a rich and valuable heritage.
Parents and grandparents living in the diaspora have a unique responsibility as custodians of historical, cultural and linguistic memory. Through the transmission of anecdotes, historical and geographical data, and language, they can create a healthy diaspora, in which young people not only know their roots, but also feel proud of them. In a globalized world where identities are often diluted, this work of transmission is vital to keep alive the essence of a people, its culture and its history. Bioko's village stories, names, anecdotes and Bubi language are the bridge that connects the past to the future, and it is crucial that this transmission continues for generations to come.
BÖSUBÓBBÈ MAY MATA
SOKKÒ
TIMELY NEWS
Five interesting works.
They are worth having in your home library.
When the fashion for globalization and single thinking emerged at the beginning of the 21st century, its ideologues and apologists never imagined the forceful response of the peoples claiming their respective identities that they encountered. Without being aware of it, it turns out that the Bubis joined this worldwide vindictive current of defense of the right of peoples to preserve their heritage with an unprecedented energy, and it is in this context that the publication of this work, which was conceived from the beginning as a small contribution to the titanic and peaceful struggle of the Bubi people for the perpetuation of their heritage, that is to say, their identity, our identity, should be interpreted. Good reading. Author. K.opesese -Edmundo - Sepa Bonaba
Ë KOTTÒ
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Diversity Ëtyö Project
Magazine Director
Barbara May
Editor in Chief
Tomás May Pelico
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Böhulá
Colaboration
Eduardo May Mata
ISSN 2833-4124
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