2021 WINTER: The year of Latin America, destination Colombia

CELEBRATING CROSS-CULTURAL IDENTITY

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@CULTURSMAG

The year of

EXPLORING THE CULTURE, LIVES AND LOVES OF THE CONTINENT AND THE CARIBBEAN.

DESTINATION COLOMBIA: ITS BEAUTY, ITS FOOD, ITS PROTESTS

CELEBRATE!: A CULTURAL DINNER PARTY FOR 10

TRAVEL THE WORLD WITH A SMARTPHONE AND A CREDIT CARD (YES, THAT'S IT!)

WE CELEBRATE Cross-cultural identity BECAUSE EVERYONE SHOULD FEEL LIKE THEY MATTER

Culturs feels like home for those who straddle culture, race, ethnicity, nation or location.

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CONTENTS

WINTER 2021

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Winter 2021 | www.CultursMag.com

FEATURES ON OUR COVER

20 Destination Colombia: Its beauty, its food, its protests A photo montage of Colombians taking to the streets.

40 Celebrate!: A Cultural Dinner Party for 10 Some tasty Colombian food recipes.

88 Travel de world with a smartphone and a credit card (yes, that’s it!)

Handy tips for getting around with your smartphone.

ALSO IN THIS ISSUE

18 Rumi quote poster 78 Third Culture Kid Vocabulary Poster Series Bet you didn’t know: There’s a word for that.

94 Behind the scenes The people and places behind the scenes of this issue in Colombia, South America.

98 CULTURS Alchemist Awards The Culturs Alchemist Awards celebrate the best and brightest of our in-between community. We want to uplift and amplify the brightest minds, talents and visions of those often overlooked.

THE MUST LIST IN EVERY ISSUE 62

Must Listen: Tomoka Mori and Yasuha Miura TCK podcast

68

Must Know: Joanes Prosper: Never give up on your dreams

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Must Visit: New Mexican Colombiana: South American authenticity in the North American southwest

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Contributors

10

Culturally Fluid Definitions

12

Publisher’s Letter

14

Cultural Connections

79

Transnational Third Culture Kid Filmmakers

88

Technology

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CONTRIBUTORS Colombian TCA CHEF JULIANA is originally from Bogotá, Colombia, but has lived in Cartagena for the last four years enjoying the most wonderful surprises of Caribbean life. As a guide to her city, Juliana transformed the local flavor of Caribbean cuisine in Cartegena for Culturs Celebrations!

Chilean, Argentinean, Australian, French, Coloradoan CCK ANDREA BAZOIN (pronounced “Bah-Zwah”) is a higher education professional turned entrepreneur. She is the founder of everHuman, LLC (www.everhuman.io), a company that provides tech support alongside coaching, project assistance and workshops delivered with both expertise and empathy. Her family ties span the globe and include Chile, Argentina, Australia and France. She currently lives in Fort Collins, Colo., U.S.A. with her French husband and culturally fluid son.

Mexican TCA HUMBERTO BERLANGA is a Mexican civil engineer with a master’s degree in architectural design. By traveling around the world, he has been amazed at the infinite possibilities we could live. He quit the life he had almost three years ago as an entrepreneur, constructor and designer and is making a new one via travel, trying to live like a local in different cultures.

American TCA TODD CORNELL is a U.S.-born Chinese cultural scholar, linguist and business consultant who spent his formative years in China. He has worked with Fortune 500 companies and is the principal of Cultur668, a consulting service for U.S. companies doing business in China.

Colombian, Spanish TCA MARÍA DELGADO is executive chef and founder of Caffé Lunático, a renowned restaurant in the coolest neighborhood of Cartagena, Getsemaní, Colombia. She has studied and developed her career in Spain. She has worked in several Michelin Star Restaurants in the Basque Country and Catalonia, Spain. Since her Grandma was Spanish, Maria’s experience in that country made her recognize aromas and flavors which reminded her of her Grandma’s kitchen. After 10 years, she decided to come back to Colombia and opened Caffé Lunático with the intention to mix flavors from both cuisines, Colombian and Spanish.

Filipina-American TCK Third Culture Kid Expert MYRA DUMAPIAS is the Chief Executive Officer of TCKidNOW, which has been featured on the BBC, ABC News, The Telegraph, the U.S. Department of Defense and Education Week and helped thousands discover their TCK identity and find a sense of belonging long before mention of the term on social media.

TCKidNow provides trauma-informed educational outreach about the lifetime impact of a transnational upbringing. While acknowledging the role healing plays in helping TCKs recognize and develop their skills, TCKidNOW fosters connections that help TCKs find a sense of belonging and give back to the world they grew up in. Dumapias holds a Bachelor’s in English and World Literature and a Master’s in Social Work.

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CONTRIBUTORS Mixed-race TCA REBEKAH HENDERSON is a filmmaker and podcaster and owner of Tan Tigress Productions LLC,. a small production company with a focus on race and identity. Her identity as a mixed-race person greatly influences her current work. The tagline, “What I lack in melanin, I make up in militant” is a nod to her strong Black identity that comes in a very light-skinned package. She hosts the “Off Color” podcast in its various formats and creates films that aim to educate and activate as well as highlight great work community members are doing. She is Co-founder of MTOB (More Than One Box) A Mixed Gathering, which is now an annual event that celebrates multiracial people and their families. She holds a Masters degree in Library and Information Sciences and lives in Denver, Colo., U.S.A. with her husband and son.

Argentinian TCA MARIA LAURA LEVRERO was born in Argentina. She graduated from the National University of Córdoba with a degree in Laboratory Technique.

Maria worked for 10 years in a Cytogenetics laboratory specializing in Oncology. Two years ago, she decided to leave her profession and her country. Now a traveler who discovered a passion for photography, Maria likes to find the most real side of people through her lens: “Somehow I think photography shows us that we all have something beautiful to show.”

Guatemalan-American adult TCK JOHN LIANG is an adult Third Culture Kid who grew up in Guatemala, Costa Rica, U.S.A.. Morocco and Egypt before graduating high school. He has a bachelor’s degree in languages from Georgetown University and a master’s in International Policy Studies from the Middlebury Institute of International Studies at Monterey. John has covered the U.S. military for two decades as a writer and editor for InsideDefense.com, and is also managing editor of Culturs Magazine. He lives in Arlington, Va., U.S.A.

Colombian TCA JHONATAN RODRÍGUEZ is an actor and photographer, born in Colombia and his work is carried out in the performing and visual arts. After backpacking in southern Latin America, his inspiration is life, and he seeks to continue traveling to portray the cultures and diverse landscapes that exist in the world. He studied theater at the University of Antioquia in Medellín and his passion for photography was born in a self-taught and empirical way.

Mexican TCA DIANA VEGA is a Third Culture Adult. Born in Mexico and passioned about design, they studied architecture and started a small a business after college. Interested in entrepreneurship, Vega moved to Colorado, U.S.A. to earn an MBA at Colorado State University.

Now repatriated to Mexico, they are a graphic designer and illustrator for Culturs magazine.

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PRAISE FOR THE

SUMMER ISSUE CELEBR

ATING CROSS-C ULTURA L

IDENTIT

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T HE COM M U NIT Y I S S U E! TH E N E

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I love it! Joining your amazing platform is a sincere joy. I look forward to the journey!

ED FOR

HUM A N

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WW W.CU

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— @michellefoxlove via Instagram THIR D

IN DI AN

IN AUST

WHY M

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JA MESTURE ACTOR ON CH A TANG NGING AN

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IN DUST

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IS BE AU BROW N T IF UL

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CAN

Holy crap I´m on a magazine

Wow, I am biased — This

cover! Check out my interview

magazine is the most

with @CultursMag

beautiful publication I have

— James T. via Twitter

Look mum I'm in a magazine.

Thank you so much Myra Dumapias, Doni Aldine and ...

Culturs The Global Multicultural

ever experienced. Every page was a reflection of artistry and ancestry.

What an honor for our family to be part of these stories.

— Lori M. P. via Facebook

Magazine ... It's really been a privilege to know some of the Connect with Culturs on social:

team members, and some of the people I met through Culturs are amongst my

Love this!

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favorite interviewee[s]. Looking @CultursMag

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forward to future collab with

Thank you for this thoughtful

you guys.

and insightful feature!

— Calvin K. W. via Facebook

— Olympia P. via Facebook

Winter 2021 www.CultursMag.com Volume IV, Issue XIII

Firstly thank you so much to the team at Culturs especially Doni Aldine, Myra

GURU

Dumapias. I have very fond stories of

PUBLISHER & FOUNDER Doni Aldine

how I met the two ladies and I shared before Doni´s interview was my proudest episode.

— Calvin K. W. via Linked In

EDITORIAL MANAGING EDITOR John Liang SENIOR EDITOR Tammy Matthews COPY EDITOR John Liang

Love this and @cultursmag so much!

CONTRIBUTORS Juliana Chelley Canales María Delgado Rebekah Henderson John Liang Yasuha Miura Tomoka Mori

COLUMNISTS Andrea Bazoin Todd Cornell Myra Dumapias

— @_documentariste via Instagram CREATIVE

OMG! This is amazing. So very glad to meet you.

Wow! I´m multi ethnic as well! I tear up everytime I think about this. Thank you for creating that space. You just don´t know how much this means to me.

It brought tears to my eyes because I´ve always felt different and had to "explain" my life. Now I know I´ve found a place to just be me.

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ART DIRECTION Diana Vega ILLUSTRATION Diana Vega

PHOTOGRAPHERS Humberto Berlanga Winter Coleman María Laura Levrero Jhonatan Rodríguez

WEB DESIGN Internet Growth Systems McMillion Multimedia

SUPPORTERS ADVISORY BOARD Chumba Limo Brooke Martellaro Gregory Moore Donna Musil

Linda Thomas Brooks Antionette Williams

SPECIAL THANKS: Colorado State University Journalism and Media Communication

Connect with Culturs on social: @CultursMag @CultursGuruTCK Clubhouse: @CultursMag XOTV.me: @CultursMag

SUBSCRIPTIONS: www.cultursmag.com/subscribe. ADVERTISING INQUIRIES: Contact advertise@culturs.org. MEDIA INQUIRIES: Contact press@culturs.org. CULTURSTM magazine, Volume 2, Issue 3. Copyright Culturs Global Multicultural Philanthropic Lifestyle Network. All rights reserved. Published quarterly; Winter, Spring, Summer, Fall,

by Simply Alive, LLC, 1800 Wazee Street, Suite 300, Denver, CO, 80525. POSTMASTER: Send address changes to Culturs magazine, 1800 Wazee Street, Suite 300, Denver, CO, 80525. Reproduction in whole or part without express written consent is strictly prohibited. Simply Alive LLC does not assume responsibility for the advertisements, nor any representation made therein, nor the quality or deliverability of the products themselves. No responsibility is assumed for unsolicited submissions, manuscripts, photographs, and other material submitted. Culturs makes every effort to provide accurate information in advertising and editorial content, however, does not make any claim as to the accuracy of information provided by advertisers or editorial contributors and accepts no responsibility or liability for inaccurate information.

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Culturally Fluid Definitions n the 21st century, assessing someone’s background from outward appearance isn’t enough as hidden, rather than visual, diversity means people increasingly bring more to the table than meets the eye.

Whether through nationality, travel, race or ethnicity, many straddle culture in myriad ways.

From Cultural Fluidity, to Third Culture Kid, Expat, Third Culture Adult, Cross-Cultural Kid and more, the language to describe our in-between community is of

Cross-Cultural Kid (CCK) A term coined by author Ruth Van Reken in 2002, is a person who is living, has lived, or meaningfully interacted with two or more cultural environments for a significant period of time during the first 18 years of life. This includes minority individuals living within majority culture.

Adult Cross-Cultural Kid (ACCK)

utmost importance. Knowing the vocabulary creates understanding and deepens our sense of belonging and connections to others with similar experiences. Here’s a quick overview so you can follow along any of our articles with ease:

Third Culture Kids (TCKs) Coined by Sociologist Ruth Useem in the 1950s as a person who has spent a significant part of his or her developmental years outside the parents’ culture. The first culture is considered an individual’s passport culture, while the second culture consists of the culture(s) in which the individual has lived. The third culture is a result of the person’s life experience; this is the culture to which they most belong. The third culture often is where individuals feel community with others of similar experience.

An adult who grew up as a Cross-Cultural Kid.

Domestic TCK Cultural Fluidity/Cultural Mobility

Illustration by Diana Vega

A term coined by Culturs founder Donnyale Ambrosine to characterize hidden diversity created by people who don’t or didn’t grow up in a homogenous cultural environment. Culturally Fluid individuals may straddle nationalities, ethnicities, race or culture. The fluidity created allows understanding between or among their foundational areas of meaningful experience. It also may hinder sense of belonging to any one area.

Children who moved to various regions within the same country while growing up, often having to re-learn ways of being, especially as regional differences in dress, speech and action are heightened in formative years when it is important to be accepted.

Adult Third Culture Kid (ATCK) An adult who grew up as a TCK.

Third Culture Adult (TCA) Missionary Kids Children of missionaries who travel to missions domestically or abroad.

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Coined in 2002 by Psychotherapist Paulette Bethel to signify individuals who travel extensively and are immersed in, or live in global locations after the age of 18 (after identity has been solidified).

Refugees

Traveler

Internationally nomadic group not characterized by a parent’s occupation. Displaced from their homeland forcibly or by choice, often having fled for varied reasons — violence, politics, religion, environment, etc. Refugees typically do not return to their origin country.

Those who travel expecting differences among intra-international or international culture, however, not immersed in these cultures for extended periods of time, or long enough to integrate local cultural norms as their own.

International Business Kids Immigrants People who, for varied reasons, immigrate to a country different than their homeland to stay permanently. Many return to their home countries to visit, though some do not.

Children whose parents work with multinational corporations that take them to faraway lands, often in professional fields surrounding oil, construction and pharmaceuticals.

Borderlanders Expatriate (Expat) As defined by Merriam Webster — to leave one’s native country to live elsewhere; which also sometimes means to renounce allegiance to one’s native country.

Military B.R.A.T. Children of military who move with parents to different places within or outside of their home country. They often experience other cultures within the confines of a military installation or compound that possesses traits of the home country.

Non-Military Foreign Service Children traveling with their parents to various countries in non-military government roles, diplomatic corps, civil service, foreign service, etc.

Diplomat Kids Children whose parents are members of the home country’s political framework while living on foreign soil.

Described by author Ruth Van Reken in the book “Third Culture Kids,” a borderlander is a citizen of one country that lives close to another. Often the norms, customs and traits of each country’s culture seeps into the other, creating a cultural experience separate from either original culture, while allowing inhabitants keen knowledge and insight into their own culture as well as the other.

Multiracial People whose family consists of two or more races to which the individual identifies. With race often come cultural norms, slang language and attitudes that can greatly differ. Many multiracial children, though not all, have the unique opportunity to learn norms of all the cultures they comprise.

Multiethnic; Multicultural People whose family consists of two or more cultures to which the individual identifies. Even when belonging to the same race, differences in culture may exist between ethnicities, tribes and other cultural contexts.

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PUBLISHER’S LETTER

We are so excited to launch into 2022 with our YEAR OF LATIN AMERICA!

Y

ou may recall that I began a tribute to my father in the summer of 2020 while the world was in the midst of the COVID pandemic. My father is one who didn’t make it to the end of that year, and his battle led me to dig more deeply into family, history and lineage. It reminded me of my South American roots, from Trinidad and Tobago (mum) and Costa Rica (dad), and to focus on the important things in life.

We dedicated that summer 2020 “Time for Change” issue to my father. Subsequently, I spent a year traversing South America learning Spanish in his honor.

Along the way, who knew I would find parts of myself that had been hidden over time. South America brought me back to me. My dad brought me back to me. And I’m thrilled to bring all I discovered along the way to you.

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2022 brings Culturs tribute to my father to a close with the Year of Latin America. From Colombia to Peru, Argentina to Costa Rica, we look forward to bringing you the best that the region has to offer. The trek also inspired our newest Culturs Podcast: “Negra Como Soy,” or “I am AfroLatina.” I co-host with Dr. Rhonda Coleman, an AfroHonduran who also was raised in New Orleans, Louisiana, U.S.A. Through global experts, and abundant with laughs, we explore the African diaspora in Latin America. There’s so much to learn and discover, and we’re excited to share with you.

We begin with this issue on Colombia: The people, the food, the protests. Colombia is more than what comes to mind for people in North America. People often asked if it was safe, and why would one want to visit? Instead of cities in ruins or desolate from a drug cartel past, however, we found a people moving far from a beleaguered history, and young people aching for continued change. Check out the coverage from photographer Jhonathan on the ground in the middle of the action in one of Colombia’s most famous cities: Medellin. Then

revel in the cuisine and imagine a fiesta with family and friends This year we also celebrate our fifth anniversary in print with a celebration that spans five months over the summer. Stay tuned in the Spring issue for more information!

So WELCOME to the year of Latin America from an in-between point-of-view. I hope you find it as inspirational as I did. We can’t wait to hear your thoughts.

In global gratitude,

Doni (Dah-knee) Publisher and Founder Culturs — the Global Multicultural Magazine Culturs.org Cultursmag.com

PUBLISHER’S LETTER

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CULTURAL CONNECTIONS

By Todd Cornell

IN SILENCE, OBSERVE THE CHANGE

O

ne recent morning, the ground beneath me shifted. I was reading a book by 曾仕强 Zeng Shi-Qiang, a prominent scholar in Chinese thought and cultural wisdom. While reading, I encountered a four-character phrase, something that is common in the Chinese language. The phrase is 静观其变 (jìng guān qí biàn).

During this moment, I was experiencing high levels of stress. I paused. I scanned my body for sensations related to the stress and focused awareness on the breath. Recognizing all that was happening in my life, I grounded myself in the breath’s moment — a practice I rely on to manage blood pressure and sometimes maintain sanity.

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CULTURAL CONNECTIONS

SHADES OF CHANGE

THE MESSAGE IN THE WRITING I mindfully contemplated the four-character phrase in front of me, considering each character’s meaning to unlock a deeper significance. Breaking the phrase down in my mind, I started with the first character, 静 (jìng) silence; the second, 观 (guān) observe; the third, 其 (qí) it; and the fourth, 变 (biàn) change. A surge of clarity rushed over me as the concealed meaning of the phrase enlightened my mind. And I realized how directly these four characters spoke to my plight.

In English, the four characters may best translate as, “In silence, observe the change.” My mind flooded with various thoughts and images of Chinese characters while the ever-widening significance engulfed my being. As the specific meaning of the four characters targeted my reality in that moment, I lingered in awe at universal wisdom and the precise vagueness of the Chinese language.

Sitting in contemplation of the phrase, “In silence, observe the change,” it urged me to be calm and experience the happenings in my life without judgement. I recognized the call of wisdom to accept things as they presented themselves and not judge them according to my will.

Change is a concept not completely engrained into the English language nor embraced

by American culture. What we understand as change is, many times, detached from reality.

Change is something we have become conditioned to battle with and struggle against, something we feel a need to control. Uncontrollable change is reminiscent of the weather or vacillations of thoughts, but the wisdom of change is profound and permeates everything.

When I observe change in silence, I recognize how to embrace and work with change.

Perhaps you have heard of “The Book of Changes,” also known as the I Ching, or more

correctly, the Yi Jing (易经). The Yi Jing is one of the earliest Chinese classics. They based it on the concepts of change observed in nature by Chinese ancestors — the founders of early Chinese culture. In fact, the Yi Jing is foundational to Chinese thought, culture, and worldview, more commonly referred to in Chinese as “universe view.” The Yi Jing was already in use when they created the Chinese writing system. Therefore, the Chinese writing system sustains a language infused with concepts of the Yi Jing and yin-yang. It’s a writing system where the reader visualizes meaning through imagery more than through sound.

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CULTURAL CONNECTIONS

OBSERVE AND LEARN

SILENT ACCEPTANCE

Legend tells us that Fu Xi (pr. foo shee), the legendary first Chinese emperor, not only involved himself in creating the Chinese writing system but is also the founder of Chinese cultural practices such as hunting, farming, and animal husbandry.

Fu Xi meticulously observed all the directions. In doing so, he gained insight into interactions taking place, interactions maintaining to certain conditions that induced change. Fu Xi noted the influence of energies that harmonize yin-yang opposites, like night and day, cold and hot, moon and sun.

This balance of opposites is what we understand as the concept of yin-yang. Yin, the feminine energy, and yang, the masculine energy, are universal ripples of opposite energies maintaining a harmony induced by nonaggressive opposing energies. Universal energies are not in sync with human desires nor worldly

Throughout each day, we consistently make subconscious choices to accept or resist the ripples of change that flow through our lives. Frustration and contentment are the outcome.

The decisions we make, the directions we move, all set the tone for what emerges from the energy of thoughts and stories created in our minds. These creations set the scene for how experiences unfold — in harmony or disarray. Energy of acceptance works as a catalyst to balance outcomes. It does not change outcomes directly but can induce into them the energy of change.

For me, the key to acceptance is through my thoughts — awareness, and the practice of thought observance. Following a pleasant outcome, I reflect on how it gained support

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expectations; therefore, when we adapt to the fluctuations of life, a sense of harmony emerges within us. The application of this universal wisdom is a catalyst for balance, notwithstanding outcomes.

When we observe and understand how non-aggressive opposing energies interact to cause balance, we understand the forces of life that work for or against us. Insight into the effects these non-aggressive opposing energies produce is resident in our hearts and minds. We need only be open to seeing it in our lives and surroundings to recognize its existence.

CULTURAL CONNECTIONS

through energies I control. After a negative result or frustrating experience, I reflect to discover how my energies influenced that outcome, and where I can shift to accept the results. Just as Confucius’ student Zeng Zi said, 吾日三省吾身 “I contemplate my thoughts and actions throughout the day.” In doing this, I see how my thoughts and choices affect outcomes; I learn to think better thoughts and make better choices.

When I observe change in silence, I recognize how to embrace and work with change. Even when the outcome is not desirable, I strive to sustain a harmonious state of mind. Now, fostering contentment, the midpoint between anger and happiness, is within my control as I adjust my thoughts and inner energies.

IN ALL THINGS, CHANGE IS THE LOGICAL RESULT I recognize a core Yi Jing phenomenon in the expression 物极必反 — “When energy reaches a pinnacle it must switch.” This prompts me to watch change as a process of one energy reaching climax, then flipping to the opposing energy. I consider this the burning out of one energy giving way to the opposite.

When we don’t govern our energies, they may reach a climactic level and burn out, reverting to an alternative energy.

This could be the envisioned outcome. Yet consider becoming consumed by the yang energy of anger and rage, the result is mental and physical exhaustion followed by introducing yin energy such as sleep or rest. Nature imposes balancing mechanisms for when we lack skills to manage the energies ourselves.

When we see the wisdom in change, we experience a liberating sense of contentment.

Learning self-control resonates in the phrase, “In silence, observe the change.” Silence is the proper state for mastering self-control and observance is key to learning.

When applied skillfully, contentment is the fruit of acceptance and supports healthy happiness.

Scan here or visit: https://www.cultursmag.com/ in-silence-observe-the-change/

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NOT THE ONES SPEAKING THE SAME LANGUAGE, BUT THE ONES SHARING THE SAME FEELING UNDERSTAND EACH OTHER.

Illustration by Diana Vega

— Rumi

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YOU’RE THE BEST IN YOUR FIELD WHY NOT REVEL IN IT? THE ALCHEMIST

INTRODUCING THE CULTURS

ALCHEMIST* AWARDS The Culturs Awards celebrate the best and brightest of our in-between community. From Third Culture Kids and Military B.R.A.T.s, to immigrants, mixedrace, multi-ethnic and Expats, we want to uplift and amplify the brightest minds, talents and visions of those oft overlooked.

Who do you want to celebrate? Nominate the best of the in-between (including yourself) at CultursMag.com/Culturs-Awards.

*Alchemist: Someone Who Transforms Things for the Better www.CultursMag.com

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COLOMBIA ON FIRE

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A protest leader sings songs in favor of the protests.

F

rom April to June 2021, our editor visited Colombia and experienced the extraordinary beauty, abundant culture and rich history beyond the drug legacy often associated with it. During that time, protests engulfed the country on many fronts. Our local photographer, Jhonatan Rodriguezo, captured much of the action from the center of protests in Medellin in June. Here is his take:

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Frontline protesters blocking the road in Medellin.

A public highways user hugs someone else of the same age supporting the protests.

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(Top) Dancer protesting at Parque de las Luces in Medellin.

(Bottom) Child in the middle of the protests accompanied by his parents selling drinks to the protesters.

(Right page) Frontline protesters blocking the road in Medellin.

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During the protests, activists sang, danced and hugged in support of each other.

They blocked roads and carried their national flag, Some even saw a chance to make a little money.

One focal point of anger for the protesters was the EXITO supermarket chain, which has been accused of working with Colombian national police in the disappearance and torture of protesters in one of its stores.

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(Top) Frontline protester escaping tear gas from Colombian security forces.

(Right page) Frontline protesters waiting for another march.

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March on the streets of Medellin.

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Frontline protesters in Medellin posing for a photo.

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Indigenous communities in the Medellin protests.

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(Left page) Protester acutting the cables to public surveillance cameras.

(Top) Frontline protesters in Medellin.

(Bottom) Protester sprays a message on a Medellin storefront.

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(Top left) Sunset in the showdown.

(Bottom left) An indigenous Minga protesting for their rights.

(Right page) A Wiphala flag at the protests in Medellin.

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Potesters in Medellin waving the Colombian flag.

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COLOMBIA CELEBRATIONS CULTURALLY INSPIRED DINNER PARTY

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ach issue, we visit a country to bring you the sights, sounds and flavor of the local culture. With Culturs Celebrations, we create a Dinner Party Kit for 10 to make it easy for you to join the party and invite your friends and family. Get festive with us!

Celebrate!

SEABASS CEVICHE WITH BANANA EMULSION AND LEMON GRASS 40

MOTE DE QUESO

BLACK TOPSIDE BEEF

Winter 2021 | www.CultursMag.com

PLATANOS EN TENTACIÓN

AVOCADO AJÍ

BROWN COCONUT RICE

DULCE DE TOMATE DE ARBOL ( TREE TOMATO SYRUP)

DESTINATION:

COLOMBIA

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SEABASS CEVICHE WITH BANANA EMULSION AND LEMON GRASS

MENU

Servings 2 Ingredients 200 gr fresh sea bass 2 lemons

1 lemon zest 4 ice cubes 1 banana 1 oz of lemon juice 2 oz lemon grass oil Pickle red onion

Preparation 1. Deseed and cut in julienne the sweet pepper, dice the avocado and set aside. Slice the fish, add to a bowl, then cover with salt and ice and place it in the fridge until needed. Squeeze the lemon juice and add 1 tbsp of lemon grass oil. Mix it well and place in the fridge to chill.

2. For the emulsion: mix in the blender the banana, 1 oz of lemon juice, jalapeño as much as you like, salt and pepper and slowly drizzle the lemon grass oil.

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1 avocado 1 sweet pepper Pinch of black sesame seed Jalapeño Salt Pepper

3. You can assemble the ceviche just before your guests are ready to eat, but it’s important that you don’t leave the fish marinating for too long – you don’t want the acids in the juices to cook the fish.

Pour the lemon dressing over the fish mixture and immediately mix it up. Leave it to sit for about 1 minute while you lay out the plates.

4. Plate the sea bass with some of the juice, add the sweet peppers, the avocado, the pickle red onion and the black sesame seed. Pour the banana emulsion around the ceviche.

DESTINATION:

COLOMBIA

MOTE DE QUESO Servings 4 to 6 Ingredients 1 ñame (about 3 pounds) peeled and cut into chunks

2 tablespoons oil 4 scallions, chopped 1/2 cup white onion, diced 1 cup diced tomato 2 garlic cloves, minced 3 spoons of Suero (sour cream)

Preparation 1. Place the ñame and water in a medium pot.

Cook over medium heat for about 45 minutes or until the ñame is soft and tender.

2. While the ñame is cooking, prepare the sofrito for the soup by heating the oil over medium heat in a skillet, add the onions, scallions, tomato and garlic.

Cook, stirring frequently, until the onions are tender, about 7 minutes. Set aside.

7 cups of water 1 cup crumbled costeño cheese 1 Diced eggplant Fresh cilantro to garnish Salt to taste Juice of one lime

3. Turn the heat to low and add the sofrito and cheese to the cooked ñame. Let cook for about 10 more minutes. You can add more water if the soup is too thick. The consistency of the soup should be creamy with small tender chunks of ñame. Add salt to taste, mix well and finally add the suero and remove from the heat.

4. Sauté the eggplant, add salt, and add it as garnish. Add lime juice and serve immediately. www.CultursMag.com

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DESTINATION:

COLOMBIA

BLACK TOPSIDE BEEF Servings 4 Ingredients 1 Topside beef without fat (1 kilo approx.)

5 cloves garlic, chopped or 3

tablespoons garlic paste 1 white onions finely chopped 1 carrot finely chopped 1 bell pepper finely chopped 2 tablespoons soy sauce 100 gr tablespoons grated panela 1/2 cup red wine, dark beer or

Preparation 1. Prepare a mixture of garlic, onion, soy sauce, panela, wine, carrot, bell pepper, salt and pepper.

2. In a bowl, put the meat and add the mixture to marinate for at least 8 hours. Leave in the fridge.

3. In a large pot, heat oil and add the meat and seal it until a crust is formed.

4. Sauté the vegetables and add the sealed meat and cover with the wine and water or beef broth, cook for about 3 hours.

Coca-Cola 1 tablespoon of salt 1/2 teaspoon pepper 100 milliliters oil 3 cups beef broth 2 tablespoons plain flour

5. Remove the meat on a plate and set aside for a few minutes.

6. Dissolve 2 tablespoons of flour in cold water.

7. In another pot, add another cup of broth and the dissolved flour.

8. Mix well and simmer until it gets thick with the cooking liquid.

9. Cut the meat into slices and serve with the sauce.

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PLATANOS EN TENTACIÓN Servings 6

Ingredients 3 large, ripe plantains 1 Cup panela 1 1/2 Cup Water

1 Tablespoon Butter 2 cups of Kola Roman soda 1 Pinch Cinnamon

Preparation 1. Sauté the plantains and then add all the ingredients. Cook the plantain in low heat until the sauce has the consistency of syrup.

AVOCADO AJÍ Servings 6 Ingredients 2 avocados

1 habanero pepper, seeded and finely chopped or jalapeño or a hot sauce 1 hard boiled egg, chopped Juice of two limes

2 tablespoons of white vinegar 1 small onion, finely chopped 2 tomato finely chopped 4 tbsp chopped cilantro Salt to taste

Preparation 1. Place all the ingredients in a food processor or mince manually. Mix until everything is well combined.

2. If the mixture is too thick, add more lime juice until you reach the desired consistency.

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DESTINATION:

COLOMBIA

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BROWN COCONUT RICE Servings 4

Ingredients 1 fresh coconut 1 cup of rice

Preparation 1. Start by cracking the coconut. Identify the two “eyes” of the coconut: two small, round indentations on one of its sides. One of these eyes will be more tender than the other. Using a knife, poke a hole into the softer of the eyes. Using a flat-head screw driver that you pound with a mallet, open the other, harder eye. Pour out the coconut water into a bowl and reserve.

2. Crack open the coconut. Then, using a sharp knife or flat-head screw driver, separate and scrape out the white meat of the coconut.

Cut the meat into 2-inch chunks and place in a blender with the reserved coconut water. Blend until the coconut is finely ground. Strain the pureed coconut mixture over a fine mesh strainer in a large bowl, pressing down with your fingers to make sure all of the liquid is squeezed out. This liquid is called the coconut’s “first milk.” Set it aside.

3. Return the strained coconut solids to the blender along with 2 cups of fresh water. Blend until well mixed and repeat the straining process above over another bowl. This liquid is called the coconut’s “second milk” and will be used to cook the rice. Set it aside. Discard the coconut solids.

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2 tbsp granulated sugar Salt, to taste 1/4 cup raisins, optional 4. In a caldero or heavy bottomed pot over medium-high heat, bring the reserved first milk to a boil and add 1 tablespoon of sugar to help the caramelization.

5. Reduce heat and allow to simmer, stirring occasionally, removing the milk that sticks to the sides of the pot. The milk will reduce, leaving behind solids. Allow the solids to brown slowly and caramelize. Keep stirring to make sure the solids don’t burn. Once they’ve reached a dark brown color (think the color of molasses), they’re ready.

6. Add 2 cups of the reserved second milk. (If you don’t have enough second milk, add water to make the full 2 cups.) Wait until the caramel is dissolved in this water. Season it with salt to taste and introduce the rice.

7. Increase the heat to medium high and bring the rice to a boil. When it starts drying, reduce heat to medium and continue boiling until most of the liquid has been absorbed and small craters form on the surface. Cover, reduce heat to low and cook for about 20 minutes, or until rice is cooked through.

Fluff with a fork, cover and let rest for 10 minutes before serving.

DESTINATION:

COLOMBIA

DULCE DE TOMATE DE ARBOL (TREE TOMATO SYRUP) Servings 4

Ingredients 12 tree tomatoes 2 cinnamon sticks

Preparation 1. Peel and deseed the tree tomatoes and try to leave the stick.

2. In a pot, mix the water, the sugar and the cinnamon stick. Boil until a simple syrup is made.

1/2 cup of sugar 4 cups of water

3. Add the tree tomatoes and cook in the syrup for about 20 minutes at low heat. Serve.

4. Optional: cloves can be added when doing the syrup.

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COCINA Y COME COMO LOCAL COOK AND EAT LIKE A LOCAL

SABOR CARIBE CARIBBEAN FLAVOR ARAÑITAS 50

ARROZ CON COCO

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PESCADO GUISADO

PATACONES CON TODO

DESTINATION:

COLOMBIA

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ARAÑITAS

MENU

Cooking time 20 minutes Servings 4 to 5

Ingredients 3 Green plantains 150 grs White fresh cheese Quarter onion Vegetable oil

Preparation 1. Peel the plantain, grate it, do the same with cheese and onion.

2. Mix all the ingredients in a bowl.

3. Heat some oil in a pan, medium temperature 4. Make small, hand-sized portions and flatten them a little, without losing their form.

5. Fry both sides until they have a yellowish tone.

Take out the oil and enjoy.

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Ingredientes 3 Plátanos verdes 150 grs queso blanco fresco Un cuarto de cebolla Aceite vegetal

Procedimiento 1. Pelar el plátano y rallarlo, hacer lo mismo con la cebolla y el queso.

2. Mezclar todos los ingredientes en un recipiente.

3. Calentar aceite en una sartén mediana a fuego medio.

4. Haga pequeñas porciones del tamaño de la mano y aplástelas un poco sin que pierdan la forma.

5. Freir por las dos caras hasta que tomen un tono amarillo. Retirar del aceite y disfrutar.

DESTINATION:

COLOMBIA

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ARROZ CON COCO Cooking time 40 minutes Servings 4 to 5

Ingredients 1 coconut 1 cup medium grain white rice 3 tablespoons Brown sugar 1 teaspoon Salt 3 cups coconut milk

Preparation 1. Open a little hole in the coconut and extract the water. Put the coconut on the stove and burn the husk for about 3 minutes.

2. Hit with a hammer until it opens. Separate the husk from the coconut flesh and cut it in little squares.

3. Blend half of the coconut with a cup of water.

Strain the coconut milk and separate it from the fiber.

4. Heat the milk in the rice pot with the sugar until it dries and turns into brownish crusts.

5. While the coconut milk heats, blend the other half of the coconut with 2 cups of water; you can include the fiber previously blended.

6. Strain the milk and measure three cups of liquid, complete with water, if necessary.

7. When the coconut has caramelized, add the two cups of coconut milk and salt. When the water boils, add the rice.

8. Cook the rice until water is almost dried. Cover the rice and low the temperatura to the minimum, let it simmer for another 10 or 15 minutes.

NOTE: If you want the rice White, just skip the step of caramelizing the coconut, cook and simmer the rice in the coconut milk and that’s it.

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Ingredientes 1 Coco 1 taza de Arroz blanco 3 cucharadas de Azúcar morena 1 cucharadita de Sal 3 tazas de leche de coco

Procedimiento 1. Abrir un pequeño agujero al coco y sacar el agua. Poner el coco en la estufa para que se queme la corteza por unos 3 minutos.

2. Golpear con un martillo hasta abrirlo. Separar la corteza de la carne del coco y picarla en cuadros.

3. Licuar la mitad del coco con una taza de agua.

Colar la leche del coco y separarla de la fibra.

4. Calentar la leche del coco con el azúcar en la olla donde se hará el arroz hasta que seque y se vuelvan pequeños cristales.

5. Mientras se calienta la leche, licuar la otra mitad del coco con dos tazas de agua, se le puede agregrar la fibra del coco previamente licuada.

6. Colar para separar la leche. Medir dos tazas de leche y completar con agua de ser necesario.

7. Cuando el coco con el azúcar hayan caramelizado, agregar las dos tazas de leche de coco y la sal. Una vez hierva el agua, agregar el arroz.

8. Dejar cocinar hasta que el agua del arroz seque casi por completo. En ese momento tapar la olla y bajar la temperatura al mínimo. Dejar conservar por otros 10 a 15 minutos.

NOTA: Si quieres el arroz blanco, salta el paso de caramelizar el coco, simplemente cocina el arroz en la leche de coco y listo.

DESTINATION:

COLOMBIA

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PESCADO GUISADO Cooking time 20 minutes Servings 4

Ingredients 2 red mojarras or mid size White fish 2 tomatoes 1/2 White onion 10 small sweet peppers 2 tablespoons chopped coriander Olive oil Salt and pepper Vinegar

Preparation 1. Cut the fish in halves.

2. Add some olive oil in a pan, and fry fish for both sides for two or three minutes.

3. Slice vegetables and add on top of the fish with coriander, two spoons of vinegar and salt and pepper.

4. Cover and simmer for 10 minutes.

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Ingredientes 2 Mojarras rojas 2 Tomates 1/2 Cebolla blanca 10 Ajís dulces 2 cucharadas Cilantro picado Aceite de oliva Sal y pimienta Vinagre

Procedimiento 1. Cortar los pescados por la mitad.

2. Agregar aceite de oliva a un sartén u olla y poner los pescados a dorar por ambas caras dos o tres minutos.

3. Cortar los vegetales y agrgarlos sobre el pescado junto al cilantro, agregar dos cuchatradas de vinagre, sal y pimienta.

4. Tapar, bajar la temperatura y dejar cocinar por 10 minutos.

DESTINATION:

COLOMBIA

PATACÓN CON TODO Cooking time 25 minutes Servings 4 to 5

Ingredients 3 Green plantains 100 grs White fresh cheese 100 grs grounded meat 3 tomatoes 1 avocado Vegetable oil Salt and pepper

Preparation 1. Peel the plantain and cut it in 4 or 5 pieces.

2. Put the plantains in hot oil to cook them, remember it cannot be very hot because they will be toasted instead of cooked 3. Take the plantains out when you can prick with a fork, let them cool down few minutes and mash them.

4. Once they are mashed, soak them in salty water with garlic, you can also use some Green onion as a brush to “paint” the patacones.

5. Fry the patacones til they toast. Take out of the oil.

6. Grate the tomatoes and simmer with some olive oil, salt and pepper, til it cooks.

7. Cook the grounded meat and season it as desired. Grate the cheese, dice the avocado and spread them over the patacones.

Ingredientes 3 Plátanos verdes 100 grs queso blanco fresco 100 grs Carne molida 3 Tomates 1 Aguacate Aceite vegetal Sal y pimienta

Procedimiento 1. Pelar el plátano y partirlo en 4 o 5 partes con la mano.

2. Poner los plátanos en aceite caliente para que cocinen por dentro y se ablanden, ten en cuenta que no puede estar tan caliente porque se tostarían.

3. Sacar los plátanos cuando se puedan pinchar con un tenedor, dejarlos enfriar unos minutos y aplastarlos para hacer los patacones.

4. Después de aplastarlos, remojar en agua con sal y ajo macerado. También se puede usar una cebolla larga (verde) como pincel para “pintar” el agua con el ajo.

5. Freir los patacones hasta que tuesten. Retirar del aceite.

6. Rayar los tomates y ponerlos a cocinar con un poco de aceite de oliva, agregar sal, pimienta al gusto.

7. Preparar la carne molida con los condimentos deseados. Rayar el queso, cortar el aguacate en cuadritos y dejarlos listos para poner sobre los patacones al gusto. www.CultursMag.com

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Scan here or visit: https://www. cultursmag.com/colombiacelebrations-a-culturallyinspired-dinner-party/

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– LATINX LENS

TM

SOME LANGUAGE AND SUGGESTIVE REFERENCES

#InTheHeightsMovie facebook.com/InTheHeightsMovie

Soundtrack Album on Atlantic Records/WaterTower Music

© 2021 Warner Bros. Entertainment Inc. All rights reserved. “In the Heights” is a trademark of 5001 Broadway Productions, LLC and Barrio Grrrl! Productions, Inc.

From shows to watch and songs to hear, to artistry, shopping and things to explore, know and do, here’s a specially curated list of things we recommend as MUST experience items for the culturally fluid.

THEMUSTLIST

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MUST l LISTEN

Yasuha Miura

TOMOKA MORI AND YASUHA MIURA TCK PODCAST

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IDENTITY AND ROOTS OF THE ‘IN-BETWEEN CLUB‘ Growing up as TCKs/CCKs, many of us struggle with an “identity crisis” at some point in our lives. We hide parts of ourselves in order to “fit in” to a particular group or space. Sometimes hiding our identities and true selves makes us feel some kind of guilt or even some sense of suffocation. Those feelings can also form a sort of resentment toward things such as cultures and family members, while also damaging our self-respect.

However, we believe that because of these experiences, many TCKs/CCKs have the unique power to evolve and transform into the best version of themselves. We believe that every

MUST l LISTEN unique story should be valued and that these extraordinary stories have the power to change lives.

This is why at the “In-Between Club,” we strive to deliver the voices of individuals, and endeavor in encouraging TCKs/ CCKs to allow being genuine to who they intuitively know themselves as. Our goal is to inspire TCKs/CCks to advance their self-actualization journeys through these processes and discoveries.

All of us have roots or links to Japan. Just as every other TCK worldwide does, we think Japanese TCKs have their own unique experiences aligned with the country’s culture. Among the entire TCK/CCK population and regions in the world, Japan is certainly one of the countries that has a deep polarization between TCKs and Non-TCKs. With those aspects in light, we also wanted to create a space that can contribute in developing awareness and understanding of cross-cultural individuals who have roots in Japan.

WHY STORYTELLING? WHY PODCASTING? through Ruth Van Reken’s book “Third Culture Kids: Growing Up Among Worlds” was a lifechanging experience. It helped us feel recognized and seen in a way that we had never felt. Everything we had experienced as a crosscultural individual suddenly started to make sense. They were the beginnings of our journeys to connect the unfinished dots, stories and emotions we had left behind internally through our experiences and challenges we faced during childhood. As such powerful terms that have the potential to change the entire outlook of a person’s life, we believe it is meaningful to share this word with a larger audience.

The reason why we chose a podcast as the main platform for the in-between club is because we strongly believe in the power of storytelling. As TCKs/CCKs, many of us may share widely common traits and experiences, but certainly have unique and extraordinary stories that we have normalized and overseen the values of.

Validating our stories and sharing them can help us heal the pain and unresolved grief that we each have locked in ourselves.

Through storytelling, we can learn about and sometimes even empathize with others and ourselves, given a deeper understanding of people’s backgrounds and history.

PHENOMENAL DISCOVERY OF THE TERM ‘TCK’/‘CCK’ Including these terminologies into our platform was significant to us as these two words have helped us to understand and make sense of our lives and existences.

All of us knew the word “TCK/ CCK” before we had started the podcast and remember the feeling of liberation running through our veins encountering the ideas and definitions behind it.

Just like many other TCKs, coming across these terms

Tomoka Mori

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MUST l LISTEN

HOW THE IN-BETWEEN CLUB CAME TO BE / WHY THE NAME ‘INBETWEEN CLUB?’

Yasuha Miura

Most importantly, we believe storytelling gives an incredible opportunity to widen people’s perspectives and curiosity. That is the ultimate reason why we like to invite guests to our podcast, sharing the many experiences and wisdom they have to offer.

This allows both us and the listeners to continue the learning, growing experience and exploration of ourselves together.

INSPIRATION, EMPOWERMENT AND DEEP-DIVES FOR SELF EXPLORATION Similar to the power of storytelling, we see the InBetween Club as a space to inspire and empower one another.

Instead of using a podcast as an informative tool, we place more focus on creating a space for people to be able to dive into their vulnerability. We share personal stories and experiences that can resonate with others and discussions that may pose a completely different perspective to listeners.

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Due to the common nature of TCKs/CCKs, we may sometimes feel that we are on a solo journey in living cross-culturally because of being far from our friends and families. This sensation of grief, loneliness, or absence of belonging can trigger self-doubt and confusion, incoherence on our own identities and self-esteem.

We feel that there is significance in cultivating awareness of how the past impacts our present and that eventually they can evolve in becoming a transformative force for selfimprovement, development and personal growth.

We are convinced that our approach to not only reexamine and delve into pre-existent self story lines, but also to generate critical viewpoints to them, potentially resulting in awareness and mind expansion, makes our podcast special. We hope that we can inspire and empower each other through the many stories and experiences we share together in this space of the In-Between Club.

We started the podcast in August 2020, when many of us around the globe were adjusting to the COVID-19 pandemic. The idea came at the beginning of the many quarantines when both of us were ironically, but also with much privilege, given a lot of time to reflect back on our lives.

Even before the pandemic, we both loved discussing and rambling on topics about TCK/ CCK life, many of which consisted of experiences on identity searching and of not completely belonging to any of the cultures that we have roots in.

With time, we started to ponder on the idea of bringing our conversations online to a larger community, with the notion that our stories should shed light to many others that have similar thoughts and experiences of living as a TCK. We feel the podcast has given a louder voice and validation to

MUST l LISTEN

THE ’IN-BETWEEN CLUB’: OUR HOPES FOR THE FUTURE our struggles and stories, which we had thought until then were unworthy of being shared or even talked about, and could spark others to start conversations and have their voices heard as well.

The reason why we gave our podcast the name “In-Between Club” is because the understanding that we can belong “in-between” cultures was engraved as a critical realization in our lives. We wanted to emphasize the legitimacy and validity of not fitting into preexisting boxes, and belonging to not just one culture but across multiple cultures and to a mixture of them.

Along with the hopes of playing a role in bridging cultures, groups and ideas, we want to encourage TCKs/CCKs to feel empowered, for them to allow themselves to belong in an “undetermined” space.

Yasuha Miura

The “In-Between Club” is currently a project that we have aside of our main careers. At times, the podcast and social media accounts are updated inconsistently to dedicate time for our personal lives and careers.

Despite the irregularity we often have in this project, we are incredibly grateful that we have listeners from all parts of the world who listen to and support our podcast. In the future, we hope to expand the community and network with both meetings and workshops where people can directly engage together.

We hope that the ‘In-Between Club’ can continue to evolve as a safe place for everyone to feel empowered, embraced and to be given an opportunity to love oneself for who they are.

TOMOKA’S STORY Your “normal” is just a reflection of the world that you choose to see. This is one of the most powerful perspectives that I have come in touch with, in my life as a Third Culture Kid/ Cross-Culture Kid (TCK/CCK). In fact, it was what made my entire life make sense as an insecure child with a shaky cultural and self-identity.

At the age of three, I moved to the United States with my family for my father’s work. I recall identifying myself as somewhat American (although I was not), even before recognizing my Japanese identity. This eventually came to be the game starter of my lifelong self-searching journey.

After leaving New York and returning to Japan at eight years old, I went to a public elementary school. This wiped out everything I knew of myself and turned my world upside down. I was targeted by the male bullies and was often left out from my female classmates as the “different kid.”

Rather than believing in who I was, the best thing an eight-yearold girl had known at the time was to kill myself internally and to erase all of the colors I held. No piece of me felt proud of the fact that I grew up in the U.S.A., nor did I even think about it anymore myself. Without even noticing, I started to hide my background and feel ashamed of the fact that I had different backgrounds.

Eventually, I started treating others without respect, just as I couldn’t respect myself. My self-esteem had fallen to the ground and the strong hatred toward myself took over me.

However, little did I know that the next six years in middle/high school were going to bring back the glimmer in me. I recall a vivid memory of being startled by my friends who shamelessly expressed their personas, being fearless of attention and humility.

Slowly, with time, I learned to be comfortable in my own skin. It allowed me once again to acknowledge my cross-cultural background, also reviving my sense of respect and worthiness.

Being surrounded by such strong, accepting, diverse groups of people, it became the closest place I could call “home.”

I still did not know which culture I belonged to long after this. However, the sense of www.CultursMag.com

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MUST l LISTEN belonging to a culturally undetermined space was what ultimately salvaged me through the challenging paths of reversed identity loss and inner child grieving that came later on.

Although it may have taken an ample amount of time and struggle, at the end of the day, where I ended up was being comfortable in being a Third Culture Kid and a Cross-Cultural Kid. That was who I was: I belonged “in between” cultures.

It was when I struggled to find therapists that understood my TCK/CCK background, that it hit me that individual storytelling was the key game-changer. I felt that too many things were being generalized and that they were killing the individual contexts, which are indeed everything.

I quickly realized that everything that mattered in people, every color that they held were hidden in the shadows of

Yasuha Miura

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YASUHA’S STORY

abstract ideas and so-called norms of society.

Along with considering my TCK/CCK experiences in a relatively collective society — Japan — I thought of how phenomenal it would be to feel seen, feel validated and to even enable the individuality to become a blueprint for growth through democratized content.

Without much doubt, I decided to start a podcast called the “In-between Club” with precious friends of mine.

Even as time flows, I know that I will never quit on following my passion and purpose. I strongly believe that I will continue my love for learning, and engage with the TCK/CCK community in a way to uplift the overall empowerment of crosscultural individuals.

On a typical Friday night, my family gathers around the dinner table where we have Thai green curry, tonkatsu, and french fries.

My younger brothers start sharing a story about school, and my father critically comments on the world news broadcasting from the TV. Soon after that, I began to respond to my father’s feedback, and meanwhile, my mother peacefully enjoys her international mashup meal.

This seemingly chaotic dinner table is a “home” that I grew up in, yet once I step outside, my normal is often perceived as a strange and misfit experience to the norm. Growing up as a mixed Japanese-Thai and living in a cross-cultural environment, I often battled with finding a sense of belonging even though I can speak Japanese and Thai fluently or practice both cultures equally.

The feeling of incompleteness was triggered by how I was easily viewed as an “outsider” from both of my home cultures. I spent my childhood in the Japanese community located in the center of Bangkok, Thailand. On a weekday, I go to a Japanese school and immersed myself in a socalled monocultural environment, whereas on the weekend, I participated in extracurricular activities in the Thai community.

As I crossed cultures back and forth, I started to develop confusion and struggled to find a sense of myself. I constantly felt the need to prove to others and myself that I am not lesser than others just because I am a mixed child. However, I slowly grew

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Tomoka Mori

more appreciative of holding cross-cultural identities when I moved to an international school for middle school and high school. I began to learn about different cultures and made friends who also have crosscultural backgrounds. This is one of my life-changing moments where I developed my curiosity in the life of individuals growing up cross-culturally and became the root of my passion in international education as a way to promote intercultural understanding.

My background and past experiences have given me a strong foundation in my passion for academics, and have uncovered further areas I wish to pursue in an undergraduate degree. I majored in Global Studies where I developed my

interest in how culture and politics strongly influence each other. I learned about how the development of culture and ideology plays a vital role in globalization and international politics to shape the world order.

During my exchange year at a liberal arts college in the United States, I gained a more personal insight, when I encountered international students and U.S. students who speak up and fight for the recognition of their identity. This became another significant experience that has driven my passion for thinking about how the topic of crosscultural identities is seen in different systems and societies.

After I graduated from university, I started to work for an educational consulting company

to foster international education in my home country, Japan.

While this experience allowed me to influence English education among students, I also learned there is a vast number of students just like myself who struggle with their cultural identity and finding a sense of belonging. I gained strong empathy and a sense of mission to help those youths and empowered them. As a result, I decided to start a podcast with my friend to share the story of an individual living cross-culturally.

By sharing each of our personal experiences on identity crisis or talking about how we began to embrace being different, I hope to encourage others to gain a sense of belonging and feeling empowered to be themselves. At the same time, I would like to maximize the impact I can give to the youth by creating a safe space and empowering them. Currently, I am pursuing my master’s degree that will prepare me to attain theoretical and practical knowledge to promote intercultural understanding and global competency through an educational program. I’m hoping that more and more youth can appreciate their cross-cultural heritage and be proud of who they are.

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MUST l KNOW

JOANES PROSPER:

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NEVER GIVE UP ON YOUR DREAMS

A

sk Joanes Prosper for the advice he’d give his younger self, and he’ll talk about dreams, and never, ever giving up on those dreams.

Talk with him a little longer, and you quickly realize that for Prosper, founder and owner of the rapidly expanding Prosper Digital TV, dreams aren’t an outcome. They’re much more like a process, an ongoing commitment to a way to live, how to be, what to value and, most importantly, how to make it happen.

As Prosper talks about the success of Prosper Digital TV, and about the lessons he’s learned and applied to his expanding business, he always returns to vision and dreams. These days, he’s also very likely to share his plans for the new and enhanced livestreaming offerings the company will launch this month. He’s especially excited about the added augmented reality capabilities Prosper Digital has added — the kind of technology used to create the scenes for Disney’s “The Mandalorian.”

He’ll also be happy to show you around the new studio spaces the team has been working at since early June — in partnership with Buttons and Six+One Studios. In these spaces Prosper Digital can share advanced live-streaming capabilities that will allow clients access to outlets like Amazon, Facebook, Twitch and other major platforms to reach customers.

But as exciting as these new production and technological capabilities are, Prosper is most proud of the team he’s built from around New York City and across the globe — and the quality of work they do, together. www.CultursMag.com

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“One of the things we always say is, as storytellers, our goal is to create lasting memories for audiences and equally provide a memorable experience for our clients,” Prosper said, adding that building a diverse team is key to making that happen. “One of our main company values is inclusivity, or as we say, ‘No Ego, Only We Go.’ We understand that our success is rooted in our collective abilities and not in the creative gifts of one person.”

Of course the growth of Prosper Digital didn’t happen easily or overnight. In a world driven by instant gratification, Prosper took a different path to his dreams. Like a lot of creatives, Prosper was drawn to the arts, specifically the entertainment industry, and to film. And like many artists, he had a personal story to tell — the struggles of immigration, of family and of the real tragedies and triumphs.

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projects that fired his imagination was “Finding the Prospers,” a bio-pic of his Haitian family and the challenges they faced in immigrating to the United States.

He shot hours and hours of footage, and traveled back to Haiti to ground his story in the place he was born. However, along the way, he realized that simply having a dream doesn’t make it come true — and that as a young professional there were skills and experiences he still needed. For his dream to become reality, he first needed to build his professional base.

Recognizing this, Prosper systematically set out to prepare himself and his company from the ground up. He committed to a different kind of storytelling, working with a variety of businesses and learning how to tell stories that resonate in a variety of settings and contexts.

That approach has created a successful path.

In the past decade since it launched, Prosper Digital TV has grown from essentially a one-man operation into a multitalented video production and marketing company. Recently, the firm announced it won 10 international awards for its client work. This was all the more impressive in that some of the work was developed during the COVID-19 pandemic.

“It’s been so important to build the right atmosphere in our team — to value diverse opinions and inputs, to focus on storytelling, and to seek brands and causes that are seeking purpose-driven communications,” he said. “That’s what has made us successful, and that’s what we will use to take the leap into live-stream broadcast productions and into original content for television, film and streaming platforms.”

“Finding the Prospers” is back in development. He sees this as the beginning of a new chapter.

By adding focus on creating original content, and looking to expand into live-streaming, Prosper believes his company is poised to build on the team’s successes, and is positioned to significantly expand its offerings to clients.

The company was named the Minority Marketing and Communication Firm of the year for 2020 and 2021 by the Manhattan Minority Business Development Agency. Prosper — who was named a top 40 under 40 professional by the Network Journal, a digital magazine for Black professionals and business

MUST l KNOW owners — has also been involved in some timely projects. He produced a public service announcement with the New York City department of Aging (DFTA) during the COVID-19 pandemic to help bring awareness to older New Yorkers dealing with social isolation. It featured Lin-Manuel Miranda, creator of the smash hits “Hamilton” and “In the Heights.”

Prosper Digital TV also won a 2021 Gold Telly for Branded Content for work on a Training Series for Medical Transportation Management, Inc. and the New York City Taxi and Limousine Commission — helping to train drivers to assist with accessibility issues and giving a step-by-step guide for how to best support wheelchair passengers.

Recently, Prosper Digital was named among the top video production agencies in New York City. The ranking was recently issued by Clutch, a leading review and rating agency that ranks companies through a rigorous

process of research, verified phone and online reviews, using the Leaders Matrix Methodology.

Prosper Digital TV also worked on “Stop the Silence,” an initiative to prevent ongoing gun violence and racial injustice, launched to commemorate the fifth anniversary of the Mother Emanuel AME Church shooting in Charleston, South Carolina.

The project, which included the documentary film “Emanuel” that aired on Starz, Amazon Prime and iTunes, also featured a virtual panel discussion produced

by Prosper and his team. The panel included activist and Pastor Dimas Salaberrios, a producer of “Emanuel” and founder of “Stop the Silence” in partnership with Six+One Studios. Other notable producers of the film included activist, academic and Oscarwinning actress Viola Davis, NBA All-Star Steph Curry and actress, director and philanthropist

Mariska Hargitay. They were joined by U.S. House of Representatives Majority Whip James Clyburn as well as author and pastor Dr. A.R. Bernard.

As Prosper continues to pursue his original content projects, leverage technology to adjust to the increased demand for livestreaming work and purposedriven content creation for his clients, he still recognizes that the team is the most important asset, and the base for future success.

“We are a company built on storytelling, on ideas, on inclusion and on bringing a sense of purpose to our work for our clients,” he said. “That will always guide us.”

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Florecita Inn Soft Opening.

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Rinaldo Brown.

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NEW MEXICAN COLOMBIANA: SOUTH AMERICAN AUTHENTICITY IN THE NORTH AMERICAN SOUTHWEST

By Rebekah Henderson

W

hen Colombianborn Sildana Brown saw a tiny, two-word sign along highway 522 in Northern New Mexico, she said to her husband, “Amor, that’s it. That’s the one.”

Her husband Rinaldo Brown, born and raised in Washington, DC, kept his eyes on the road but assured his wife that they could stop on their way back. Costilla, Spanish for “rib,” is a tiny town located 40 miles outside of Taos, NM, a city known for its art, food and strong magical vibes.

New Mexico’s state slogan is the “Land of Enchantment” and the land is indeed very enchanting: Hot springs, high deserts, incredible storms and blooms of flowers; it’s a beautiful place. The area draws tourism including camping, hunting and fishing.

Brown, although far from her home town of Cúcuta, Colombia, is thankful she saw the sign on the way to lunch. She believes the energy of the land pulled them in, that the place found them, made them stop, and ultimately purchase a dilapidated roadside cantina with that tiny “for sale” sign.

INTERNATIONAL LOVE Brown never dreamed she would meet a man who would convince her to leave her home and live in a town of 93 residents.

She saw beyond the collapsed roof, the tree roots growing in the dirt floors, the crumbling adobe and the piles of junk left behind. www.CultursMag.com

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Brown had a vision: She saw a restful and beautiful place for travelers and a destination for artists looking for inspiration and a quiet space to create. She envisioned weddings, family gatherings and retreats. Her mind was blooming with possibility.

On reality television shows, they film over a long period or have highly paid crews working overtime to complete projects but when it’s just two lovebirds building a dream nest, construction can take a bit longer.

SURVIVING COSTILLA Locals in the tiny town placed bets on how long the city folk would last. Three months, they said for the new neighbors, three months or less. When the Browns moved to Costilla, they both knew it would be tough, but didn’t realize how tough. They spent the first few years proving their resilience to cold winters, minimal amenities and constant work. There were times when the Browns weren’t sure if they had made the right decision. They spent their first winters huddled around the early 19th century fireplace and dreamed of spring and summer and a roof.

FLORECITA INN’S SOFT OPENING In 2017, the Florecita Inn Bed & Breakfast opened to the public.

The Browns are still living and working on the property and Costillans have finally accepted them as members of the community. The life they have 74

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Florecita Inn.

created is simple and satisfying.

Brown’s husband Rinaldo has made time to write and has published his first book.

Because Brown had no experience working in construction, she hired a crew to work on the roof.

One of the workers, septuagenarian Don Miguel Lucero, took Sildana under his wing and became her right-hand man. She spent her days sanding wood, hammering nails and transforming the property. Lucero was born and raised in the area and Brown describes him as her angel. Their friendship and work relationship is one of the many delights of her life in Costilla.

Although Sildana knew people who had emigrated to the U.S.A., she never dreamed of living there until she met Rinaldo. They fell

in love while he was living and working in Colombia. Now as a U.S. citizen, Brown is thankful for her cross-cultural life. The opportunities living in the U.S.A. are numerous and for Brown, it’s home.

BIG SKIES AND PEACE AT FLORECITA INN Many of her friends and acquaintances who have emigrated from Colombia to the U.S.A. live in the major cities — New York, Los Angeles, and Miami — but the love and reverence and joy in Brown’s voice explains why she chose this life. She speaks of peace, prosperity and community. She attributes her calm attitude to the calm that comes when you live somewhere with big skies and plenty of space, especially during

Rebekah Henderson

Rinaldo Brown.

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Rebekah Henderson

Room at the Florecita Inn.

Interior of Earthship Taos,NM.

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a global pandemic that highlighted the need for open air.

One of Costillas’ 93 residents is Brown’s mother-in-law. She relocated to Costilla during the height of the pandemic. Rinaldo was worried about her on her own and encouraged her to join them. She quickly adapted to the peaceful, calm life and took up a very old tradition of the area: wine making. In addition, she assists with guests on the property, cooking meals and making sure her daughter-in-law has help whenever she needs.

The Browns are currently restoring and rebuilding the former bar and outdoor areas.

Items left behind from years ago have led to a small treasure trove, which they plan to use for decor when the renovations are complete. They have plans for hot tubs and a gazebo/stage.

‘LAND OF ENCHANTMENT’ This rustic little hideaway is less than an hour by car from Taos, NM. Taos is known for its artist community, green chile, hot 76

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springs and Earthships. Wild horses run across the grasses and the sky provides an incredible view. On clear days, you can see the mountains and when the storms roll through, the clouds provide their own breathtaking, ever-changing landscape.

One of the bonuses of living in the area is proximity to the

natural wonders of Northern New Mexico and Southern Colorado.

From fishing to hiking the Great Sand Dunes, to star gazing, Costilla offers all of that and more. The plant life in the area inspired Brown to name the bed and breakfast “Florecita,” which translates as “little flower.”

Breakfast includes fresh eggs, bacon, and arepas, a staple of the traditional Colombian breakfast.

They have been considering how to host with the continued spread of COVID-19. With six rooms, it’s an intimate space and perfect for family get-togethers, with a private screening room, a telescope for stargazing, beautiful common space, serviceable gym and proximity to outdoor recreation areas in northern New Mexico and Southern Colorado, Florecita Inn will no doubt become a destination for those traveling in the area.

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NEARBY ATTRACTIONS Taos Pueblo: Taos Pueblo is the oldest continuously inhabited community in the USA. The village belongs to the Taosspeaking Native American tribe of Puebloan people. It lies about 1 mile north of the modern city of Taos and is a must-see, although unfortunately at the time of publication it is closed to the public due to the pandemic.

Earthship community: Earthships are passive solar shelters made out of recycled materials and up-cycled materials.

They are energy efficient and look amazing. There is a house available to tour as well as rentals for the Earthship curious.

Rio Grande Gorge Bridge: The bridge is a perfect place to hop out and take pictures and possibly spot wildlife. It’s the fifth highest bridge in the United States and offers incredible vistas and opportunities for breathtaking photos.

Hacienda de los Martinez: La Hacienda de los Martinez is one of the few northern New Mexicostyle, late-Spanish Colonial period “Great Houses” remaining in the American Southwest. Located on the bank of the Rio Pueblo de Taos, It is now a living museum listed on the National Register of Historic Places.

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THIRD CULTURE KID

VOCABULARY POSTER SERIES

Is a person who has grown up in many cultures all at once — and so lived in the cracks between them — Pico Iyer 70

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Illustration by Diana Vega

GLOBAL SOUL

TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

FINDING THE JOYRIDE IN JOURNEYS OF CHANGE:

AN INTERVIEW WITH TCK FILMMAKER SEBASTIEN TOBLER Interview by Myra Dumapias www.CultursMag.com

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If there was ever a perfect way to portray the universal experiences of attachment and letting go, a Third Culture filmmaker would know how to do it. By inviting his audience to step into brief moments around moving day, filmmaker Sebastien Tobler depicts a family in transition in his recently completed film, “Joyrider.”

S

et in spaces of being settled, “Joyrider” explores the vulnerabilities in goodbyes and transitions through the eyes of a child. Delivered in the cushion of security and comfort embodied in the characters of the parents, Sebastien Tobler’s “Joyrider” makes it safe to revisit childhood goodbyes, powerful for adult Third Culture Kids (TCKs) reconciling with a lifetime of rootlessness.

Most notable about “Joyrider,” it is the film Tobler himself identifies as being pivotal in his career as a filmmaker and one in which the main characters are played entirely by his own family, filmed at his own home, with his own car.

Myra Dumapias: Sebastian, how did you come up with the concept of “Joyrider”?

Sebastien Tobler: In the middle of 2020, my collaborator Garrett O’Brien, who filmed “Joyrider,” and I were talking about the need to make a film and the freedom to do whatever we wanted. Around that time, I had finished my feature script “Kamikaze Blue” which follows expat teens in late-90s Bangkok.

It’s a story inspired by my high school experience in Thailand that deals with all the TCK feels: intense relationships, a disoriented sense of home, impermanence and nostalgia all bundled up into one crazy night.

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Truth is, there was no way I was going to film “Kamikaze Blue” right away and Garrett was right, I needed to make a film. What I ended up doing was focusing on the core themes of transition, impermanence and nostalgia because they are themes that I live with every day. I see it and sense it in everything, so I turned the camera to what was right in front of me: my family.

Growing up, moving to a new country was a seasonal event. I always knew it was coming. I wanted to capture the sensation of moving but also of being young and oblivious to the changes around you. As a child you don’t have the vocabulary or are conscious of the impact moving has – at least I didn’t. I was aware that something was happening and perhaps it

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was a stressful thing for my parents. I wanted to create a film where anyone who has moved around all their lives can see this child happily lost in his world while simultaneously seeing and knowing what he will have to deal with emotionally when he grows up: the inevitability of loss.

MD: Was the entire film acting for your son?

ST: I would say that it was more playing than acting for Ronin. He really enjoyed the process and would ask me if we were making a movie today. Kids just have a natural curiosity and honest reaction to things. All I needed to do was create the conditions for him to react to or tell him this is what we are going to play out.

Ronin likes to mimic, so I would ask him to say a

line and he would repeat it or say it in his own way.

Most of the time I would just ask him questions.

There’s a scene where my character asks his character if he can see his reflection in the chrome grill of the car. I didn’t intend to keep my dialogue but the interaction felt natural for a father and son because it was honest, so I left it in the film.

MD: How did you capture the shots?

ST: Most of it was handheld. The camera we used was a BlackMagic 4k Pocket Cinema Camera, inexpensive for what it is capable of. For glass, we used Zeiss prime lenses. All of it was lit with natural light only. This entire film was made by Garrett, Tara, and I – literally the three adults on screen were also the crew. www.CultursMag.com

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The production schedule was super loose. We ended up filming from August 2020 – January 2021.

One day here, one day there. This was intentional because we only wanted to get Ronin in front of the camera for 1-2 hours max. It also took us a while because, obviously the pandemic, but also, we just wanted to have fun. The moment it started to get stressful is when we wrapped for the day. I wish all productions were like that to be honest. In fact, it is this ethos that has led me on the path to the feature film I’m working on right now.

MD: There was one powerful scene with your son that embodied the pain of having to let go before one is ready. The build-up to this scene was brilliant. Was that scene planned or intentional or rehearsed?

ST: Thank you! That scene was planned. I wrote a script that I re-wrote on the fly as I edited. We just set up the conditions for this scene allowing Ronin to get emotional. First off, anyone who has a toddler knows what happens when they get hungry and close to nap time so let’s just say that we scheduled this scene close to lunch after a very active morning.

MD: Why did you choose a child’s perspective in camera angle, theme, character and topic?

ST: Although there are some POV shots, this film is seen from the perspective of a child watching another child. The reason I chose to do so is because I wanted the audience to be completely immersed in the present moment with the little boy.

Growing up a diplomat’s son, I learned to assimilate and attach to new friends very quickly.

There’s a moment, usually just before my dad would break the news of the new posting, where I would almost feel a sense of stability. Then suddenly my world changes.

That’s what I was hoping to convey by keeping the audience’s perspective on the little boy.

MD: How was it like to create a film that involved the entire family?

ST: It is intense because you’re not only tapping into something very personal but you’re letting the world in as well. The nice thing was that I think we all needed the outlet, and the routine of filming 82

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allowed for a sense of normalcy amid uncertainty. I’m referring to the pandemic, by the way, not to highmobility third-culture life.

Everyone was great though, we just had so much fun. Ronin keeps asking when we are going to make the next one.

MD: Are the themes in the film something that is significant for the family?

ST: Yes, I would say that the themes are very much a part of our lives. Tara and I are both TCKs – in fact we met each other in high school when we lived in Bangkok. We barely knew each other back then; it wasn’t until serendipitously meeting in university on the other side of the world that we started dating . . . but that’s another story.

Admittedly, it wasn’t until very recently that I started to understand the impact of my formative years on my present adult life. Perhaps having a child forced me to look back a little deeper. I have a lot of these stories in my mind, they were just waiting for me to learn the vocabulary to express them. I would say, like many of my fellow TCKs, that I have Ruth Van Reken and Dave Pollock to thank for the language to express these very specific emotions and experiences.

MD: What role did the book “Third Culture Kids: Growing Up Among Worlds” play in your creative process as a filmmaker?

ST: I was sketching out and outlining for the past five years, and then one day I said, “OK I need to get this out.” I started asking myself, “What does it mean on an academic level? What does it mean on a developmental level?”

When I started getting into the developmental side of things, that’s when it started to click: “OK, that’s what I’m trying to say,” and once I understood that, then I could express the emotions better. But I couldn’t afford making a feature film during a pandemic so I ended up condensing one of the core pieces I could apply today. That became “Joyrider.”

Because it was so enjoyable to make “Joyrider,” It inspired me to write “This Time.” Within a few months, I had written [“This Time”] and it’s gotten great feedback from a lot of folks. . . . It’s on a toprated list at the moment and it got onto the Story Lab, so I’ve been offered a place to develop the story.

Growing up a diplomat’s son, I learned to assimilate and attach to new friends very quickly. There’s a moment, usually just before my dad would break the news of the new posting, where I would almost feel a sense of stability. Then suddenly my world changes.

I finally understand what they say when they say, “You should write what you know.” I think the refinement of that is, “Write what you’ve experienced, not just what you know.” Know is like knowledge. You can get that from a book, but with experience, there’s an emotional, visceral aspect to it that is more important . . . Tell the story that you’ve experience, because that’s what’s really going to come through.

MD: It is your niche.

ST: Right. It’s comfortable for me. It feels right.

This is home. I actually get to build it. I get to recreate all these things that I can define as home for me. That is what filmmaking is for me. It is a part of home. Writing, filmmaking, photography are natural for TCKs. You’re playing with memories. You’re playing with experience. www.CultursMag.com

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THE FEELING OF

belonging

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

MD: What core themes are near and dear to you as a filmmaker?

ST: Anything that deals with experiencing life in the present, being in the moment, anything that you can sense time passing. My biggest influence is Richard Linklater because he really knows how to use time in film. “Kamikaze Blue” is my homage to “Dazed and Confused.” There’s something I just love about a normal day where there’s no big event. It’s just a normal day with the right people that can have the most profound impact on your life. I love themes like that. I love the idea of space and how it’s alive.

One of the things I was hoping to accomplish with the shots at the end of “Joyrider” was to get the sense of time passing by having a lack of presence. Where you remind people, “That’s where this happened,” or “That’s where we did this” — like instant nostalgia.

There’s a Japanese expression, “mono no aware”: being aware of things passing right now, being very sensitive to the impermanence of things.

Other themes are nostalgia, impermanence, immediate connections or intimacy, global views, time passing, community belonging or lack thereof, cultures, transitions. A lot of it ties together.

MD: How else did understanding more about your childhood impact your work?

ST: I didn’t realize the impact my upbringing had on me until later. “Constant moving is traumatic” is just the first part of a three-part paragraph. The second portion is, “It can impact you in the following ways . . .” and the third portion is, “These are the ways you can help yourself through all that.”

I only had the language for the first part, but I never really addressed what it was it was impacting and what could I do about it. [Filmmaking] is cathartic. There’s nothing to fix. There’s only management. You can’t turn off the trauma. It’s like turning off a part of you. I accept that. I just chose to express it in my work.

I choose to understand the cues and understand what I need to when there is change happening and what to embrace and what not to embrace. The older you get, you learn when to push, when to pull, when to stay still. That applies to being a TCK. When someone says there’s going to be change, you get to www.CultursMag.com

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decide what to do about it. I really do embrace being a TCK now more than ever, in terms of how I can support the community, how I teach my son about it.

MD: Joyrider ends with a joyful note that seemed to be about being in the moment. Is this part of the message you want to deliver?

ST: Yeah, that’s exactly it, be present. Throughout the film the little boy has his head down as he plays with only what is directly in front of him but at the end he looks up and sees a whole world, an entire life and a long wide-open road.

My characters in “This Time,” the feature film I am directing this summer, struggle with this. It asks what happens when you can’t let go of the past, what happens if you ignore it and ultimately what do you do when you must face it again. If “Joyrider” is all about learning to deal with impermanence, then “This Time” is about learning to find an inner stillness in adulthood while reconciling with a past filled with adventure.

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MD: Tell us more about the characters in “This Time” and the title.

ST: “This Time” has three meanings: “this time,” as in, “We have this time,” meaning right now; “this time” as in, “We can do it again this time,” because they meet again, or “this time,” like, “This time is passing.”

It’s about two international school kids who get split up because of the 1998 Jakarta Riots. They meet up again and they reconcile about a lot of things.

One character doesn’t want to look back and the other character is having a hard time moving forward because they can’t let go of the past. They face that together when they meet randomly in Los Angeles.

They spend a little more than 12 hours together.

MD: “Joyrider” is so powerful because it mimics your personal life a as a family. Will “This Time” go in that same direction?

ST: Style-wise will be a little different because we won’t be forcing perspective as much but we are going to be staying with just the two people the entire time. So it’s going to be intimate. We’re never going to not be with them. We are with them 90% of the film, individually just 10%.

TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

The idea — same with “Joyrider” — was to get that sense of being present, being like you’re living in the moment with them and then being separated.

Obviously, the being separated part is just as important as the being present part. They’re both very real aspects of our upbringing. That’s the emotional goal of both.

MD: Going back to your three levels of consciousness as a TCK, would you say your growth as a filmmaker and thematic focus is tied with your progression of TCK consciousness?

ST: I [directed] a sci-fi of a woman who brings back her former lover using her memories, the theory being that we are fundamentally our experiences and memories. If we can implant that into somebody else, they would theoretically become that person. That was “Animesis.” This was before I [knew about being] a TCK. . . . Before that was my very first short, “Fractured Legacy,” about a private school kid whose father blew the wealth. . . . [The kid] was ostracized by the community and his friends.

As I boiled down the themes, I boiled down production. “Joyrider” was a very important project.

It’s my favorite thing I’ve ever done. In 20 years, once I get a couple more feature films in my pocket, I’ll look back and say, “That’s the film that changed it all.” [“Joyrider”] really is the keystone, the pivoting moment where the switch flipped.

Ultimately, I’m doing this for us. . . . Non-TCKs understand [“Joyrider”] as youthfulness and nostalgia, but the ones who will really get it are those who had a lot of mobility growing up. . . . This is just pure in that this is about being young and moving. A lot of have asked [about] how much of it was real.

The story isn’t real. We’re still in the same house, same car. We’re still here. We just sold the idea of it, the emptiness, really well. There are universal themes, but really it’s for people like you and me, the readers of CULTURs, the members of TCKidNOW. It’s that community. Other folks will get it, but there’s a lot more context once you realize it’s about TCKs. Joyrider screened at the Academy Award and BAFTA qualifying LA Shorts Festival in July as well as at the Newport Beach Film Festival in October.

Sebastien Tobler was born in Zurich, Switzerland to a Filipina mother and Swiss father, who served as a diplomat for the Swiss Foreign Service. Growing up, Tobler lived in Manila, Philippines; Arau, Switzerland; Warsaw, Poland; Jakarta, Indonesia; Bangkok, Thailand; London, England; and Washington, DC, USA. You can follow him on Twitter @sebastientobler and Instagram @sebastien_tobler to be updated on the progress of This Time as well as how to support Joyrider and check out his other films at www.sebastientobler.com.

Scan here or visit: https://www.cultursmag.com/ finding-the-joyride-in-journeys-ofchange-an-interview-with-tckfilmmaker-sebastien-tobler/

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TECHNOLOGY

By Andrea Bazoin, M.Ed., Founder of everHuman

TRAVEL THE WORLD WITH A SMARTPHONE AND A CREDIT CARD

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S

ince the start of the global pandemic, travel has been out of the question for most of us. My partner and I had planned to spend the summer of 2020 in France, where he is from, but of course, our plans were canceled. Now that we both work from home, indefinitely, we were able to reschedule our trip this last summer – finally enjoying quality time with our French family and friends.

A few days after we arrived at my mother-in-law’s apartment in Chantepie – a village outside of Rennes (the regional capital of Brittany, France), my partner asked me if I still had the idea to take a side trip alone. I had briefly considered this idea before we left the United States but hadn’t made a plan. It was a Tuesday evening, and he pointed out that every weekend of our entire summer was already booked – except the one coming up. So, if I wanted to travel somewhere it was now or never.

OK – NOW! Only, I hadn’t traveled alone outside of the United States in over 20 years! With less than three days to plan this solo trip, I was a bit nervous. Fortunately, in 2021, all you really need to travel is a smartphone and a credit card.

Curious how I did it? Ready to hop on a plane this weekend? Then here are the tech tools I used to enjoy a week in Italy – visiting three cities with three day’s notice.

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TECHNOLOGY

WHERE TO GO

HOW TO GET THERE

First I had to decide where, in Europe, to go. I Google searched the latest Covid-based travel restrictions, then used Google Flights to compare flights to Greece, Spain, Malta, Portugal and Italy. As I browsed YouTube for tourism videos about each location, I landed on Italy. It had always been high on my bucket list, flights were affordable, and the videos I watched about gelato, pizza, and ancient ruins won me over!

I booked the perfect dates at the price I wanted using the Google Flights Price Graph. I downloaded my airline company’s app to ensure I could access my boarding pass, even offline. Next, I needed transportation to and from the airports. In Europe, intercity trains and buses are plentiful but booking ahead is important (especially if you’re trying to catch a flight). A quick Google search showed me the right trains and buses to take to Paris Orly airport and from Rome Fiumicino airport to the city center.

With tickets I booked in advance, I always downloaded

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the transportation company’s app so I could save the ticket to my phone and receive notifications if anything changed. This came in handy when an airline employees’ strike caused a fourhour delay in my flight back to France, which meant I needed to book a new train ticket from Paris to Rennes.

As for the rest of the week, I booked places to stay as I went along – usually two nights in advance. Using additional apps like Airbnb and Bookings.com, I was able to find a great vacation home in Salerno and a hostel in Naples.

WHERE TO SLEEP

LOCAL TRANSPORTATION

With limited time to plan and an open schedule, I didn’t want to lock myself into staying too many nights in one place. Rather than book a traditional hotel, I opted to book my first two nights at a hostel in Rome. Using the Hostelworld app, I found a place with great reviews just near the train/bus station and close to the city center.

Beyond getting there, I needed transportation between cities and from one attraction to another.

For this, I relied on Google Maps plus apps from the national and regional train/bus companies (like TrenItalia), local ride-sharing apps (like FreeNow), and even scooter services (like Helbiz). Of course, I also wore (out) my best walking shoes!

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TECHNOLOGY

WHAT NOT TO MISS WHEN TRAVELING On my first day in Rome, I picked up a tourist map at the train station. This was the best way to literally see the big picture and to identify the must-see attractions without wasting time (and energy) backtracking.

Beyond the map, I used Airbnb to browse for interesting tours and experiences. In Rome, for example, I booked a skip-the-line ticket to the Vatican museum that included a helpful audio guide.

And in Amalfi, I arranged an incredible guided tour of a seven-generation lemon grove owned by the family of Salvatore Aceto (www.salvatoreaceto.it).

And, in Naples, I met 5th generation hand-crafted umbrella maker Mario Talarico (https:// www.instagram.com/mario_ talarico_since_1860/). Of course, I also followed my senses – anyone smell pizza?

SPEAKING THE LANGUAGE I am fluent in Spanish and speak beginner French, but didn’t speak a word of Italian before I left. I picked up an Italian phrasebook once I arrived, but didn’t use it much once I memorized the most critical words and phrases like please and thank you, where is, excuse me, etc.

When needed, I used Google Translate to help me communicate more clearly. Plus, if you download the Google Translate app, you can point your smartphone at text and automatically view the translation!

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ADDITIONAL TRAVEL TIPS BEFORE YOU GO

THE BEST TRAVEL SOUVENIRS It’s a good idea to travel light, especially when traveling alone.

So, the best souvenirs are often photos. I love Google Photos for the ability to easily share an entire album and even map the exact location of a photo at a later date. I also love using Marco Polo to share my journey with a few close friends and family members with short, private video messages. It’s fun to look back on a conversation thread to relive the journey! Finally, Instagram turned out to be the best way to connect with and get to know new friends I met on the journey.

* Be sure you understand your phone plan, your ability to access a network outside your normal home base, and the cost. In my case, my Google Fi phone works normally as long as I have WiFi access. If not, I can turn on and pay for mobile data anywhere in the world. * Always carry cash! You never know when paying with a credit card is not an option, or when the purchase limit is higher than the cost of your item. * Keep your phone and your credit card secure! Without these two items, it may be game-over for your trip. When in doubt (for example, deciding whether or not to take your phone/wallet to the beach), leave these items locked up in your room and carry cash and an “in case of emergency” contact card instead.

Scan here or visit: https://www.cultursmag.com/ travel-the-world-with-asmartphone-and-a-credit-card/

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BEHIND THE SCENES

The people, places and flavor behind our visit to Colombia!

Our editor, Doni, dancing with locals in Cartagena, Colombia’s city center.

Kayaking in Grand Island, Rosario Islands, off the Caribbean coast.

Doni joins the crew at Lunatico Cooking school for Culturs Celebrations!

Enjoying the blue waters of a Grand Island getaway.

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BEHIND THE SCENES: COLOMBIA

Rebecca and Rashmi at the colorful Communa 13.

Laura, Katy, Doni, Morgan, Rashmi and Rebecca view the famous Gordo Statues.

The view from the city center rooftop can’t be beat!

The crew after climbing the stairs at Guatepe’.

www.CultursMag.com Making traditional aerapas with a local.

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THE ALCHEMIST

HEART OF THE WORLD The Culturs Awards celebrate the best and brightest of our in-between community. From Third Culture Kids and Military B.R.A.T.s, to immigrants, mixed-race, multi-ethnic and Expats, we want to uplift and amplify the brightest minds, talents and visions of those oft overlooked.

Niara Hardin

Whom do you want to celebrate?

Nominate the best of the in-between at CultursMag.com/Culturs-Awards.

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THE ALCHEMIST

AWARDS 2021

From Military B.R.A.T. Deidre Hardin, who designed the CULTURS AWARD: As an artist, the spark of creativity is fickle at best. I tend to start a concept, set it aside, then come back when it calls for my attention. I spent a day playing with ideas meant to express the meaning of the CULTURS award. Keywords like belonging, family, culture, and food were some of the broad concepts I considered. By the evening, I had drained my mental toolbox and settled down to listen to an audiobook. The Alchemist, by Brazilian author Paulo Coelho, was to be the catalyst that brought my efforts into fruition. My initial hesitation was with using copper to create the piece, my assumption being the award should be an elaborate material. This anxiety was swiftly laid to rest after a few sentences in the book stated, “There is no need for iron to be the same as copper or copper the same as gold… copper and iron have their own legends to fulfill.” Birthed from this unexpected inspiration came The Alchemist Heart, the title for the copper heart sculpture. The book is a metaphor for life. A story about a

personal journey and how to listen to your heart and follow your dreams. The secrets of alchemy are said to exist on a small emerald tablet that can’t be expressed in words. The Alchemist can transmute lead into gold and uses a solvent called the elixir of life to cure all ills. The chaotically twisted copper design is an interpretation of a personal journey through travel, decisions and career paths.

The top of the heart is left open to represent one’s courage to embark upon their possibilities. Therefore, I placed the faux emerald that symbolized the Philosopher’s Stone as the eye of the fish. The fish symbolized not only food but a biblical proportion in sharing a skill with others. The base, as referenced in the book, can be the elixir of life or the oceans of the world. As a whole, the piece may be interpreted as ocean-crossed global citizens who find home, happiness, and belonging within their hearts.

No heart suffers while pursuing its dreams using lessons learned in discovering its legend. Ultimately, there is no magic panacea to one’s heart’s desire.

Entries open soon!

Join the free newsletter at CultursMag.com to ensure you are the first to know.

Nominate someone at Cultursmag.com/ Culturs-Award

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4K Ultra HD and Blu-ray Include Digital Movie Code

SPECIAL FEATURES ON BLU-RAY 4 Fun Featurettes - First Quarter: Game On / Second Quarter: Teamwork / Third Quarter: Out of This World / Fourth Quarter: The Looniest • Deleted Scenes

look for it ON digital, BLU-RAY™ AND 4K ULTRA HD™ ENGLISH

SDH

LOONEY TUNES, SPACE JAM TM & © Warner Bros. Entertainment Inc. Special Features Are Not MPA-Rated and May Not Be Hi-Def or SDH. © 2021 Warner Bros. Entertainment Inc. All rights reserved.