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 NO. 48 - MARZO 2026
Cultural Magazine -  Revista Cultural
 

TABLE OF CONTENTS

María Jimena Adugu Akieme

The Objective

María Jimena Adugu Akieme

Videos

Between two shores

MAATICA by Langston Ralls Ílaróte Masala Morrison 

Soésiöbo and Carlos Bolete Lobete

Culture, Society, Plus More

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ekottomagazine.com

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 will focus on four basic sections and four complementary sections.

EDITORIAL, INFORMATION, INTERVIEWS, ACTIVITIES.

1. EDITORIAL: A general account of a specific topic in each edition.​

 

2. INFORMATION: Its content will be based on learning about our guests' backgrounds, or what could be called their résumés.

 

3. INTERVIEW. Focused on the professional sphere.

 

4. ACTIVITY: Focused on our guest's current activities.

OPINION

It is a section for sociocultural opinion articles.

SOKKÒ

It is a section with a variety of socio-cultural news.

POET'S BLOG

A section for poetry and poems.

EMPLUSTV

Ekotto magazine channel on YouTube.

Culture, society, plus more.

 

With the magazine Ë KOTTÓ, we will bring culture a little closer to our homes.

Editorial

THE OBJECTIVE

We couldn't be happier. Despite the difficulties and adversities, the fact that every month we can fill the pages of this project with personalities from the world of music, cinema, theater, education, gastronomy, dressmaking, literature, etc., and bring our readers a new edition, fills us with satisfaction.

Last month, we featured a promising young person with an open mind in the sociocultural sphere, and this month, once again, we believe that we are achieving the goals we set out to achieve when we embarked on this adventure. This time, we present a quiet mind, but one that is ready to break all chains and make her work known: Women are the master key.

The title says it all: women are the hope that every day we will have a better world. And if they could have the master key, believe me, another world would be possible, and it would be much better.

Be sure to follow us on all our platforms. Every day we try to move forward and grow. One of our new adventures is to give broader support to the magazine by activating a new audiovisual content space that we have named EMPLUSTV, which stands for Ekotto Magazine Plus TV.

EMPLUSTV, still in the testing phase, will follow the magazine's editorial line but will broaden its scope to include more topics of social interest, such as history, roots, world dances, the musical universe, etc.
 

Story

MARÍA JIMENA ADUGU AKIEME

Novelist Jimena Adugu Akieme has published her work, which is available in bookstores and online. Her literary work, entitled La Mujer es la Llave Maestra (Woman is the Master Key), published by Diwan Meyrit Iberica, marks her first venture into the world of literature.

Jimena Adugu Akieme, as a good apprentice, student, and analyst of her Ekang culture, finds herself at a crossroads. She always tries to give her opinion without judging.

She is an activist and host of the program La mujer es la llave maestra (Woman is the Master Key), which inspired this novel.

Born in Equatorial Guinea, she is the third of five daughters of Paula Maye Esono, the second of five wives of former professor Eliseo Akieme Nve.
She is a multifaceted woman.

The Equatorial Guinean based in Madrid makes her debut as a novelist with Thirty-Three Years of Sun, a story entitled “La Mujer es la Llave Maestra” (Woman is the Master Key). With concise, evocative prose, full of irony and innocence, the author, who is also the daughter of a retired teacher, bursts onto the literary scene with a reflection that will linger long after the last page of this novel.

The Equatorial Guinean woman, the protagonist of the story written by Jimena Adugu, builds memories and lives within them as if they were a home. 

WHO IS JIMENA? 

María Jimena Adugu, as a good apprentice, student, and analyst of her Ekang culture, finds herself at a crossroads. She always tries to give her opinion without judging.

2009: Secretarial certificate. At the INFORMÁTICA NIETO academy. Equatorial Guinea.


2010-2013: She holds a higher technical degree in culture and tourism from the Institute Régional d'Enseignement Supérieur et de Recherche en Développement culturel. IRES-RDEC, Togo.
2012: Diploma in French language studies DELF B1.


French certificate from the International Center for Development and Language Studies (CIREL) Village Du Benin. Togo.
2019-2021: Vocational training in commercial activities (Nuestra Señora de Remedios). Madrid, Spain. 
2015-2017: French teacher at the La Sagrada Familia Private Center, Equatorial Guinea. 

She has also given and attended several conferences on self-esteem. African Festival in Leganés, 2019 (Madrid).

She considers herself a consistent, sociable, dynamic, and skilled team player.

Traveling is her passion.
 

Interview

MARÍA JIMENA ADUGU AKIEME
Hello Jimena. How are you?

Jimena, I'm very well, thank you for giving me this opportunity to share with you and address my wonderful audience through you.

Thank you for accepting the invitation from Ë Kottò Magazine.

It's my pleasure. 

1. Jimena, is there a future for writers in Equatorial Guinea?

Of course there is a future for writers in Equatorial Guinea. Although it is a challenging path marked by complex political contexts and the need to open up to the world, the future is promising thanks to the vitality of its new writers and the depth of their works.

2. The country's cultural centers are doing very important work in promoting reading among the younger generations, organizing poetry contests from time to time throughout the year. Do you think this is enough in a country where it is difficult to find a store dedicated exclusively to selling books?

The centers are doing what they can; they are a support or complement in our society, but it is clear that the most important part is up to us Guineans ourselves. That is precisely what government entities are for. I mean, to promote culture in our society. I am talking above all about opening publishing houses, libraries, bookstores, and cultural spaces throughout the country. 

3. It is clear that the culture of reading is still very scarce in the African community. Our question is this: don't you think that an annual African book fair would bring society closer to literary works?

Indeed, it has always been my great desire. It could be part of a great solution.

4. The digital magazine Ë Kottò. is a small contribution of barely two years in the world of culture, which means that we may be mistaken in some of our information. Question: Is there an annual award for the best African writer?

Yes, there are several annual or biennial awards for African writers, notably the Caine Short Story Prize, the Grand Prix Littéraire de l'Afrique Noire (in French), the Wole Soyinka Prize (biennial), and prizes such as the Justo Bolekia and others focused on the dissemination of African literature, in addition to major awards such as the Nobel Prize for African authors. 
I will continue to investigate; I still have a lot to learn.

5. You are a young African woman writer. The title of your first work is *Woman is the Master Key*. Why do you think this title reflects reality in a world where men selfishly hold almost all social power?

You are absolutely right. It is a way of reminding men that, no matter how powerful they may be, they all come from our wombs. This means that women are the pillars of society. It is a way of reclaiming our presence. From here, I recommend the song “MINÁ ABELÉ PODER” by the singer-poet Adjoguening.

6. In your story or presentation for our interview, you speak enthusiastically about your Ekang culture. What is the role of Fang women within Ekang culture?

Fang women are the pillars of the home, which means that without a female presence, the home has no life. We represent joy, happiness, fertility, etc.

7. Does Jimena have a favorite universal writer or, if so, a particular writer from Equatorial Guinea?

I read many, but in this case, my favorite would be Marian Rojas Estape. And in the case of Guinea, I must admit that I read more male writers than female writers.

Barón Ya Búk-lu, Joaquín Mbomio, Trifonia Melibea Obono, etc.

8. Tell us briefly about the work *La mujer es la llave maestra* (Women Are the Master Key).

The book La mujer es la llave maestra offers guidance for women to value themselves, recognize their abilities, and overcome the barriers that prevent them from reaching their potential.
I address the development of self-esteem in women in Equatorial Guinea by exploring their challenges and their central role.


The work empowers women who lack access to education and resources by highlighting their ability to transform their environment and achieve self-fulfillment despite social and cultural adversities.

9. We don't mean to gossip, but can we anticipate that the young writer Jimena Adugu already has her next literary work on her computer?

We are working on it, there will soon be new surprises, and I hope it will be part of the same thing. That is, to continue in the same vein. We are still making decisions about it.

10. Any message for the readers of Ë Kottò Magazine?

: I would like to thank Ë Kottò Magazine for the great work they do to support Equatorial Guinean culture.

Thank you for sharing with us. Is there anything else you would like to say to the readers of Ë Kottò Magazine?

Nothing to add, just to wish you luck, long life, and a prosperous 2026.

OPINION

PHOTO-2024-04-05-20-55-13.jpg

BÖSUBÓBBÈ MAY MATA

Between two shores: identity and memory in the diaspora

In a world marked by migration, fragmented heritage, and increasingly symbolic borders, the question of belonging has become one of the most complex issues of our time. Where do we belong when our biography is written between two—or more—geographies? In African diasporas, this question is not theoretical: it is intimate, everyday, and often painful.

Imagine a young woman whose parents are Bubis, an indigenous people from the island of Bioko. She was born and raised in Spain. She speaks Spanish naturally, celebrates local holidays, studies European history, and identifies culturally with the Spanish landscape. However, there may be moments when Bubi culture imposes itself as a strong presence: the ancestral language she barely speaks, the rituals, the stories of the island, the expectation of “not forgetting who she is.” In Spain, she may be seen as ‘African’; in her ancestral homeland, as “too Spanish.” Her identity becomes a space of constant negotiation.

This mismatch is not an individual failure, but a symptom of a historical condition: the diaspora. Belonging to communities that are sometimes uprooted—because they were forced to migrate or because globalization diluted their cultural boundaries—means building identity without a stable territory. Memory replaces soil. Language, when preserved, is a bridge; when lost, a wound.

Another example is that of a young man born in France to French-speaking African parents. French is spoken at home and at school. There is no obvious language barrier. However, culture is not limited to language. The way of understanding family, religion, authority, or community can differ profoundly. This young man may feel fully French in his public life, but experience his African heritage being reduced to stereotypes or celebrated only as exoticism. The tension is not in the language, but in the social gaze and the expectation of cultural loyalty.

Globalization adds another layer to this phenomenon. On the one hand, it facilitates access to ancestral culture: music, literature, social networks that connect with the country of origin. On the other hand, it homogenizes tastes, references, and aspirations under a dominant global culture. Young people in the diaspora not only navigate between two worlds, but also between multiple narratives that compete to define who they should be...

For young people to feel that they belong to their community without renouncing their complexity, clear cultural and educational strategies are needed. First, promote intergenerational spaces where cultural transmission is the main objective. Second, teach the history of diasporas in education systems, legitimizing these identities as part of the national narrative. Third, support cultural initiatives—festivals, associations, artistic projects—that allow tradition to be reinterpreted from a contemporary perspective. And finally, recognize that belonging is not an exam that can be passed or failed, but a dynamic process.

In the diaspora, where identities always seem to be negotiated, knowing one's roots strengthens self-esteem and provides tools to move more confidently between different worlds. Because those who understand their origins navigate with greater awareness, and in that awareness, they find a fuller and freer way of belonging.
 

BÖSUBÓBBÈ MAY MATA

SOKKÒ

TIMELY NEWS

Mother Language Day.
Bubi Sociocultural Association.
MADRID

Baron Ya Buk.lu is back with ETOFILÍ, an 11-track album in which the urban troubadour portrays, without filters, how he sees today's world: social changes and their turbulence, the impact of technology on our relationships, and the weight of religion in shaping institutions, politics, civil society, education, and social services.


In his lyrics, the artist focuses on an uncomfortable reality: while the state fails, many religious institutions maintain a closer relationship with the people, accompanying the most vulnerable and often committing to moral and economic progress. This sense of community—seeing beneficiaries as part of an “us”—helps to cushion the isolation caused by poverty and marginalization. And, from this perspective, Baron Ya Buk.lu issues a warning: the loss of shared beliefs and values can be a serious blow to a society that aspires to be truly civilized.


All of this is strongly reflected in “VendeHumos,” one of the album's key tracks, where the artist addresses the notable decline in the number of Equatorial Guineans who identify as religious today, a change that some interpret as a sign of increasingly marked cultural secularism.


ETOFILÍ was produced in Madrid (Spain), Lagos (Nigeria), Bata (Republic of Equatorial Guinea), and London (United Kingdom). 


The project features notable collaborations, including the multifaceted Nene Bantú, who participates in “Chap, Chap, Chap (abuiñ mebo),” and London-based rapper Warren Ondo, who rounds out the album with “Esóg nkóg (promiscuo).”


A comeback with substance, identity, and musical ambition: ETOFILÍ is not only heard, it is also thought.

 

Album title: ETOFILÍ
1-Chap, chap, cháp (Abuiñ mebo). 2- Esó nkóg (Promiscuous). 3-Dzaman. 4-Ndongo Mba. 5-VendeHUmos. 6-Cuna de la rumba. 7- Adzeme Ela. 8-Etúg Djóm. 9-Edjang Ngomo, 10-Ayong bina. 11- Etofilí


www.youtube.com/ngomolineprod
https://www.instagram.com/ngomobaron/
https://www.tiktok.com/@baronyabuklu
https://es.wikipedia.org/wiki/Baron_ya_B%C3%BAklu

New Single!

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Poet's Blog

LÖTÓ’ÓLLÓ

Ö lötó’ólló ló oberi lue ribellè

Ëbóbë Kó lötó’ólló luaò

Kó vöótè wè eria’.ö.

 

Ö lötó’ólló ká rihóle, ka eteba,ká rimmamabió

wë pálá o párá lötó’ólló á tyílèrò itè atá,

hèrahò ö winnòò, ë tébáò,

ö wétáò,

 

Ö lötó’ólló kò bösori wè

tyekkú bö lè ökana bö, lö lókka,

lë kárityöbbò, lö bötatté,

lé bíriia biaó.

 

Kò böhai bö lè alla ‘ bö ë tyé tö purí ë.

 

Ë bëkeu bia betyö bi la rekèssa

ë bó wella ò lötó’ólló,

I nokkò í útubbam ka’ó :

ë bëtyètye bié biöllo bi kákabia

ë biëtta wëlla biá bikëbíkë.

 

Ö lötó’ólló Kó vöótè wè eria’ö le ribobo re biëká biao.

 

Ö lötó’ólló Kó böe, ló bö’ó bottó wà ribötyö rito.

 

“É ribötyö welá rima o le’á tölló, wae a ló lötó’ólló luá abobé, ötyommá.”

 Soésiöbo. ©️2024

Ë ILÁM (MI VOZ)


by Carlos Bolete Lobete
 


Ë ilám.

Ballá ná bá la ipölla

öámmo ö böém wëla.

Biebba la ëhëá ná ë nkòm wëla

ë la tuturó.



Ë ilám.

Ballá ná bá la etya.

Ë röppa wëla bí la seballa la ëháe,

bësari ná bí la sölla ë bi íkkiò bí hatte

lë sihúruru.



 

My voice.

Words that emerge

from the depths of my soul.

Sound waves that slide in the tunnels of my neck

slither.

 

My voice.

Words that grow.

In pain they dream of calm,

symphonic notes that let their breath fly

with the breeze.

EmplusTV

Ë KOTTÒ

Publisher

Diversity Ëtyö Project

Magazine Director

Barbara May

Editor in Chief

Tomás May Pelico

Designer

Böhulá

Colaboration

Eduardo May Mata

ISSN 2833-4124

© 2026

All rights reserved.

May not be reproduced without the written permission of Ë KOTTÒ.

Contact

ekottomagazine@gmail.com

diversityetyoproject@gmail.com

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