Winter 2019-Gifts from around the globe

NBC’s “NEW AMSTERDAM,”

Winter 2019 Display until March 1, 2020 $11.95 US $12.95 CAN

We are a global, multicultural philanthropic brand that uses media, lifestyle products and experiences to foster human connection in geographically mobile and cross-cultural populations.

Created for immigrants and refugees, military B.R.A.T.s, Third Culture Kids, missionary kids, minoritized populations and those interested in their experiences, we empower communication at the intersection of social justice and cultural fluidity.

CONTENTS

WINTER 2019

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FEATURES ON OUR COVER

30 Blinded by the Light NBC’s “New Amsterdam” adds light to the toughest scenarios with its equally positive main cast of international stars.

ALSO IN THIS ISSUE

24 76 Destination Vancouver Ordinary Missionaries A gorgeous wonderland of city, coastal and indigenous culture.

41 Myths and Truths of Depression and Suicide Attempts

An Expat living in Central America shares five things he loves about his adopted country and five things he misses from home.

80 The Art of Life Mastery

A brave young woman shares her truth in hopes of helping others.

Shanthi Yogini outlines how to take charge of your life.

44 STORYTELLER

84 The Cultur’d Home

Malaysian filmmaker Tony Pietra is living a Boy’s Adventure Tale.

Living Tiny is all the rage — ­ here’s how to do it in style.

THE MUST LIST IN EVERY ISSUE

52 Must Watch: Alien Citizen 54 Must Buy: Bla Bla Kids plush, Peru 56 Must Buy: Catherine Tough Textiles, UK

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Contributors

58 Must Buy: Arae Arae Apparel, Japanese style

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Publisher’s Letter

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Culturally Fluid Definitions

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Cultural Connections

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Executive Strategist

60 Must Buy: Koluntu Shrugs, South Africa 62 Must Buy: Nicragua Home Goods, Nicaragua 64 Must Buy: Copper Signatures Artwear, Texas, U.S.A. 66 Must Buy: Leather Handbags, Guatemala

70 Must Buy: Love Pop Cards, Boston, U.S.A. 72 Must Buy: Rarity reconditioned Bags, South Africa 74

90 Technology 95 Behind the Scenes

Must Buy:: AVYA Melanin Skincare, Calif., U.S.A.

76 Must Read: Use Your Difference

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CONTRIBUTORS

As a journalism instructor at Colorado State University, MICHELLE ANCELL enjoys helping young people discover their gifts and passions. Her natural curiosity and experience as a multicultural, first-generation college graduate have inspired her to discover the stories of everyone she meets.

From a cook whipping eggwhites for a melktert in South Africa, to the gal behind her in line at the neighborhood grocery store, Ancell is quick to initiate conversations that discover each person’s story. Culturs offers the opportunity to broadcast these stories on a grand scale and with purpose.

ANDREA BAZOIN (say “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.

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Adult Third Culture Kid and Military B.R.A.T. GERALD AMBROSINE proudly hails from an Afro-Latin heritage. An avid photographer, Ambrosine’s work has been featured in the best-selling magazine “Where Women Work” as well as every print edition of Culturs since its inception. A lover of computers, technology and motorcycles, Ambrosine has honed his photography skills for more than two decades. This world traveler has roots in North, Central and South America, and also has lived in Europe, Asia and Africa. He is a proud retired veteran of the U. S. Air Force.

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ANDREA BUTLER s a descendant of the Fulani tribe. She also is a Gettysburgobsessed Marine Corps brat, and lover of all things magazine-related. Professionally, Butler is an entrepreneur, writer, editor, publisher and public speaker who “reps hard for the culture,” especially when it comes to Black teen girls. Prior to launching Sesi, the only global teen magazine for Black girls, Butler worked as a high school English teacher and then senior editor for LivingSocial. Affectionately dubbed “Ms. Correcto” by friends, Butler is all about that editing life. She holds an undergraduate English degree from the University of North Carolina and a master’s degree in magazine journalism from Kent State University.

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MICHELE DAVENPORT is an executive strategist who designs and facilitates programs in coaching, communication and leadership effectiveness for individuals and organizations committed to optimizing potential and growth. As principal and founder of Mosaic Coaching Solutions, Davenport inspires clients to engage more deeply and intentionally in every aspect of their lives. Her method includes a threephased process designed to heighten self-awareness, develop strategies, implement accountability and achieve sustainable change.

Winter 2019 | www.CultursMag.com

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.

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CONTRIBUTORS

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 there 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 not only 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.

TAMMY MATTHEWS is a Culturs senior editor and a native of Chicago, Ill., who long worked as an editor for the Chicago Sun-Times. Matthews is now a doctoral student at the University of Colorado in the College of Media, Communication and Information who seeks to unite her passions — sports, media, languages and gender issues — as she studies historical and contemporary representations of transgender athletes worldwide.

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Adult Cross Cultural Kid GEORGE SISNEROS was a serial entrepreneur who wanted to raise his children with a sense of stability and security in his homeland — the U.S. In 2012, however, Sisneros and his family moved to Guatemala as full time missionaries. Since then, Sisneros and his wife Vonda have established a private Christian middle school for boys and provide 45 scholarships to girls in their community. Within seven years, they have helped build 13 homes, given 2500 people access to clean, safe, drinking water and helped deliver critical medical assistance to hundreds. Find out more about Sisneros family adventures at OrdinaryMissionaries.org •••

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Adult Third Culture Kid HAYDEN GREENE is a prize-winning, fine art photographer with an eye for the ironic and for color. He has been a working professional since 2008 and strives to capture the unnoticed beauty that we walk by every day. His work includes beautiful landscapes and cityscapes, expressive portraiture, and dynamic concert and event photography. In 2010 he created Greene Light Photography to bring an artistic eye to commercial photography.

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Military B.R.A.T. TOMMY MCMILLION is a Domestic Third Culture Kid who grew up in Texas and later lived in Colorado, New York and Las Vegas. As a student of art, McMillion was able to turn his passion for music, photography and graphic design into a career. Since 1997, he has created unique compositions for local, national and international talent and businesses. As a professional photographer, McMillion specializes in capturing the beauty of nature, urban life and entertainment. McMillion is the founder and co-owner of McMillion Multimedia, a firm specializing in brand development, promotions, and marketing solutions for the entertainment industry while actively targeting the five senses through use of the meme senses methodology.

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SHANTHI YOGINI leads the movement “Don’t DO YogaH, LIVE YogaH!” to ensure that ancient YogaH (Yoga) is not portrayed as a fitness exercise. As a Yoga-Master, she teaches YogaH as a way-of-life through eight steps to mind-mastery. The two-time international best-selling author and speaker offers eye-opening presentations of YogaH as a solution for ALL life problems. A free download of BOOK ONE of her series “Happiness: The Key to Success — Twelve Meditation Steps to Uncover Your Joy, Healing and Success” is available at YogaforHappiness.com.

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A Native American be seen Veteran fights to

I can’t wait to receive my copy!

I love this magazine!

And I really don’t like reading things online I like to hold them.

Robin A. via Facebook

“The owner of William Oliver‘s Publick House Connect with Culturs on social:

@CultursMag

@CultursGuruTCK

stopped me in his restaurant and said that he loved my article about Jesse James— “I am not your savage,” article.

His wife and a customer sitting at the bar also read the article, introduced themselves to me and said they love the magazine.”

Antoinette T. via text

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Winter 2019

www.CultursMag.com Volume II, Issue IIII

”Love what you guys are doing!” @tckpoetry, via Instagram

“This is EXACTLY what so many are looking for in a great magazine! Thanks for being here for us!” @chicagogoescurly, via Instagram

”Just picked up your magazine at Barnes & Noble.

Very Cool!” @BantuOutdoors, via Instagram

GURU PUBLISHER & FOUNDER Doni (Dah-knee)

EDITORIAL SENIOR EDITORS Michelle Ancell Tammy Matthews ONLINE EDITOR Andrea Butler MUSIC EDITOR Tommy McMillion

CONTRIBUTORS Donnyale Ambrosine Koya Nyangi Tara Pruett

COLUMNISTS Andrea Bazoin Michele Davenport Todd Cornell George Sisneros Shanthi Yogini Myra Dumapias

CREATIVE COVER PHOTOGRAPHER Hayden Greene PHOTOGRAPHERS Gerald Ambrosine Hayden Greene Richard Silver Carlos Vincent Daryl Ephraim Kieonne Young

GRAPHIC DESIGN Maggie Adams Madeline Bechtel Ruth Cox Kaity Doyle Hillary Gates Tyler Kimsey Lisa Myklak Dawson Petrocco Clarissa Pierce Dawson Schafer CiCi Sharstrom Haley Sullivan

WEB DESIGN McMillion Multimedia PODCAST PARTNER Traciana Graves RADIO HOST AND AUTHENTICITY GODDESS Robin Alexis YOGA DIRECTOR Terry Mairley

SUPPORTERS ADVISORY BOARD SPECIAL THANKS Brooke Martellaro Colorado State The Metro Vancouver University Journalism Gregory Moore Convention and and Media Visitors Bureau Donna Musil Communication Antionette Williams Front Range NBC/Universal Chumba Limo Community College

Connect with Culturs on social:

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I cannot wait to get my copy!” @Glamhomedecor via Instagram

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SUBSCRIPTIONS: www.subscribe.Cultursmag.com. 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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PUBLISHER’S LETTER

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PUBLISHER’S LETTER

t’s been another spectacular year of highlighting the best of cross-cultural identity around the world. Culturs expanded its reach, distribution and the many people who are touched by the work we do to celebrate those who straddle culture, race, ethnicity, nations or locations. To our surprise, we find this global melding of identity in the most unexpected places.

Case in point — Freema Ageyman of NBC’s hit drama “New Amsterdam” not only hails from Britain, but she encompasses two additional global identities as well. Come to find out, her castmates all are “in-between” as well. And every last one of them exudes an uplifting positivity. Perhaps it’s the underlying premise of the show, or perhaps its because those with in-between upbringings tend to find the light in all situations, and use that to help fuel their growth. Our cover story “Blinded by the Light,” (pg. 30), might give a little insight.

Light and bright also could be used to describe this issue’s destination: Vancouver, Canada. The spirit of its people is uplifting as well, making it one of our favorite locales around the globe. From mountains to ocean, to skyscrapers and indigenous art — Vancouver is a must-visit that should adorn your bucket list.

Our must list also will not disappoint — with easily accessible gifts from around the globe, there’s sure to be something to warm your heart, your toes, or your head this winter (pg. 49). And many of our choices give back to the earth, community, or global culture, so the giving is more than just to your loved ones, but also to the planet and others around the world.

Though this season is full of festivities, family and often joy — it’s also a time where less sun and ubiquitous celebration can send some into the doldrums. Contributor Tara Pruett bravely shares her experiences with depression and suicide attempts in an effort to uplift others who may be feeling the same. (pg. 37) We’re proud of all these stories and amazing cross-cultural features of CEOs, artists, homes and missions across the globe. Enjoy this issue, and don’t forget to reach out and tell us your story — we’d love to share it with the world.

All the best,

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

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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 Culturally fluid, to Third Culture Kid, Expat, Third Culture Adult, Cross-Cultural Kid and more, the language to describe our community is

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 minoritized individuals living within majority culture.

Adult Cross-Cultural Kid (ACCK)

of utmost importance.

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

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 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 homogeneous 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.

Missionary Kids Children of missionaries who travel to missions domestically or abroad.

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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.

Third Culture Adult (TCA) 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 a solid foundation).

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

Refugees Internally 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.

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.

Traveler 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 Children whose parents work with multinational corporations takes them to far-away lands, often in professional fields surrounding oil, construction, and pharmaceuticals.

Expatriate (Expat)

Borderlanders

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.

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 wither original culture, while allowing inhabitants keen knowledge and insight into their own culture as well as the other.

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 instillation 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.

Multiracial People whose family consists of two or more races to which the individual identifies. With race often comes 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. www.CultursMag.com

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CULTURAL CONNECTIONS

By Todd Cornell

Chinese Tradition of Gender-Fluid Performance For generations, Chinese culture has traditionally enjoyed and celebrated cross-gender artists.

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eking opera is the most well-known of all Chinese operas, which finds its home in Beijing. But in Peking opera men have played the part of women for years. The practice began during the Chinese Feudal Society period (BCE 475 to CE 1840) when women’s roles in public were limited and during the Ming Dynasty (CE 1368 – 1644) when women were not allowed to appear on stage.

CULTURAL CONNECTIONS

A TRADITION BEGINS The tradition continued during the Qing Dynasty (CE 1644 - 1911), women were not even allowed to attend public performances. Peking Opera had become strictly a male-dominated art. However, since women play major roles in society and no opera or story could be complete without them, women needed representation in plays and operas.

The Chinese word “Dan” 旦 was the title given to Chinese opera female actresses, or “Divas.”

As men began to interpret the female roles they were referred to as “Nan Dan” 男旦, “male Diva.”

Nan Dan were not only expected to look like women, they were expected to take on the actions, habits, and mindset of women as well. The most successful Nan Dan experienced trained for years.

In the moment he put on female clothing, there was no differentiating him from a “real” woman.

In fact, Nan Dan even took on the roles of women who accompanied men in drinking and socializing.

The most renown of all Nan Dan was Mei Lanfang 梅兰芳 (April, 1915 to August, 1961).

Born in Beijing, he travelled the world to share the tradition of Nan Dan. Over the years, Mei Lanfang established the Mei School of Nan Dan, which collected a trove of knowledge on the practice.

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CULTURAL CONNECTIONS

NAN DAN NO MORE Once the People’s Republic of China was established in 1949, the practice of Nan Dan began to fade. Once again, women appeared on stage welcoming more equal status compared to the traditional feudalistic social practices.

Now, after decades, the art of Nan Dan has encountered a resurgence through the talent of a man named Li Yugang. His Nan Dan name, 玉刚, Jade Steel, reveals a sense of balance between yin and yang.

In 2006 Li Yugang participated in a Chinese talent show called “Star Beams” where he first captivated the audience with his song and intimation. Despite the performance receiving some criticism, Li Yugang sparked the traditional memory of an art form not seen on stage for generations.

For years, Li Yugang researched and perfected the Chinese tradition of Nan Dan connecting with the spirit of Peking Opera. He had touched the heart of his culture and the people of his country through the expression of an art that had all but been forgotten.

PASSION-FILLED JOURNEY Once the People’s Republic of China was established in 1949, the practice of Nan Dan began to fade.

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Many see Li Yugang as an overnight sensation, but his story includes a long journey of sleepless nights and emotional challenges. After graduating high school, he was accepted into a college of performing arts, but because of his family’s financial struggles, was unable to afford tuition.

Nonetheless, he embraced his desire to revive the traditional art form. In following his dreams, Li Yugang experienced periods of homelessness and confusion. He took odd jobs. He spent nights at the Karaoke singing popular songs. He perfected high notes as he experimented with songs from Peking Opera sung by Mei Lanfang and other famous Nan Dan.

The conflicting emotions he experienced to learn the Nan Dan tradition nearly caused him to take his own life. Li Yugang left his rural home in northeast China for Beijing because he knew that

CULTURAL CONNECTIONS

if he would find success it would be where the Nan Dan had been revered before. Yet each trip home, Li Yugang struggled to hide his reality from his family, to the point that he would leave costumes in a train station locker when visiting his family’s village.

He feared them finding women’s clothing in his luggage.

In 2006, still wanting to hide from his parents, he opened up to his older sister about the “Star Beams” competition. Finally, he decided on a less invasive way. “I understood my family and the place I grew up, no one would believe that I am doing this –performing as a Nan Dan,” He said.

SUCCESS AWAITS The night of the competition, his sister called her mother suggesting she come to her home to watch the competition. She didn’t recognize her son on TV because she saw a woman. His sister asked her mother what she thought of the performance, “She’s a good singer and performer,” her mother replied. Her daughter then admitted the performer was her little brother, Yugang. Li Yugang’s mother looked again and recognized her son. Through the excitement she also understood the challenges and difficulties her son had faced over the years.

It was through hard work and persistence that Li Yugang succeeded at reviving a traditional Chinese art, an expression of what many would consider cross-gender. And he achieved it in a culture remembering their love for the tradition of Nan Dan, an art that Li Yugang breathed back to life.

Li Yugang has realized a contemporary expression of a traditional form of art based on stories of flowers and women passed down from dynasties of the past. His every hand gesture, dip of the head, and elusive glance takes his audience on a journey back to days of glamour and sublime expression in the depths of the Chinese soul.

Following multiple international performances including the Sydney Opera House in 2002; in 2009, Li Yugang was recognized as a premier performing artist in China.

Li Yugang left his rural home in northeast China for Beijing because he knew that if he would find success it would be where the Nan Dan had been revered before.

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EXECUTIVE STRATEGIST

By Michele Davenport

The Grey

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EXECUTIVE STRATEGIST

Zone ulio Cesar Castaing is a human resources executive based in New York City.

Castaing has lived and worked across the Americas, yet when he thinks of home, what comes to mind is the Dominican Republic — it’s the place where his people are from.

MD: Tell us a little about who you are in the world.

JCC: My parents are from the Dominican Republic, so I’m first generation American -they came here in the early sixties. I think of myself as the consummate New Yorker, one who enjoys all the city has to offer – lots of flavor, different folks from all over the globe and it keeps it interesting. I grew up on the upper west side with my younger brother William, other siblings and my parents through mid-high school when we moved to Washington Heights section of Manhattan.

MD: Where were you born?

JCC: I was born here and my parents actually met here. They didn’t know each other in the DR though they lived not far from one another.

We grew up in the city and always lived in Spanish-speaking communities. Spanish is my

first language and probably for the first six or seven years I spoke nothing but Spanish. I remember being in kindergarten or first grade and we had these little plastic canisters where she [my teacher] would hold candy. I remember the teacher asking me specifically if I wanted jelly beans. I thought anything that looked like that was an “M & M” because that’s what we had at home. She put jelly beans in my basket on her desk I thought — “what is this?” You know, I didn’t know what it was, but it was one of the first times that I remember struggling with understanding English, since up to that point everything had been in Spanish.

MD: Tell me a little about your family.

JCC: I have a very large family — three siblings on my mom’s side that were born in the Dominican Republic before she came here. And then my father had a whole bunch of kids in the Dominican Republic as well.

MD: Growing up did your family speak English?

JCC: They spoke only Spanish. And when my older siblings on my mom’s side came to New York the first time, around 1968, they went into the same junior high school I eventually went to as well. That program was bilingual for them.

So we were all sort of exposed to both languages.

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EXECUTIVE STRATEGIST MD: Did your parents ultimately assimilate to English as their children began speaking it more?

JCC: No, not very much.

My parents, as soon as they came to this country, found jobs in places through their friends who were already here or family members that were taking them to their place(s) of employment. It was factory work; my father worked in Chinatown [NYC] at a warehouse delivering food products for restaurants and things like that. But they weren’t forced to speak English because we’ve always lived in Spanish speaking communities and they’ve always worked in places where everybody spoke Spanish. My mom is 87 and doesn’t speak English and has lived in New York City for nearly 60 years.

MD: How do you think about your identity?

JCC: I consider myself a Latino who happens to be black. You know the whole idea — hold on, although I connect and associate with being African American. I mean if you think about the definition itself, it doesn’t really apply to me, although I relate and connect to it, but to me, it doesn’t really make sense. What I mean by that is if you do the direct translation, I would be Latino and African (AfricanLatino) with African roots and Latino culture. Although I am American my family 20

doesn’t consider themselves to be American — they are transplants. They came here and now they are naturalized citizens, but they don’t necessarily associate with being American.

They associate with being Dominican; they associate with being Latino. So by extension I would be an African Latino.

MD: I thought a moment ago you said you considered yourself an AfricanAmerican; are you saying you do not?

JCC: I do, and I connect with it — that is the term “African American” — but these labels are a very “American” thing.

You go anywhere else in the world and people don’t really think of it this way as a definition. You are Black, Asian, white or whatever. I have traveled to nearly 30

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countries and I’m always viewed as a Black man no matter where it is I am.

MD: Do you consider yourself Dominican American?

JCC: I do.

MD: How do you distinguish between race and culture?

JCC: This is a hard question for me because I associate with so many different cultures and cultural connections. I associate wholeheartedly with Dominican culture when it comes to food and music. If you look at my phone, the last thing I was listening to is meringue — Dominican music. There’s a strong connection for me around music, the food, customs, because this is what I grew up with from an early age.

I’ve been in English speaking communities, schools, all sorts

EXECUTIVE STRATIGIST of things. My friends — a lot of them lot of them are Latino, but I also have a lot of African American friends who do things that might be slightly different than Dominicans.

which is different than where I come from. In school I had been called all kinds of names so once I figured out how to kind of put those things into perspective it was better.

MD: Like what?

JCC: Like food. When it comes to food. I didn’t have grits until I was in my 20s.

I didn’t know what a “grit” was… Any black American with roots from the southern U.S. was likely introduced to grits at an early age. So I associate with different cultural backgrounds — Dominican, Black, American.

MD: You’ve been called all kinds of names about what?

JCC: Black people would call me names — I’d call them my friends! The kids I went to school with who were for the most part lighter-skinned Latinos would make fun of the fact that I was so dark. In fact, one guy would call me brillo pad because my hair was wooly — that was the fourth grade.

MD: Where and when in your life did you have to choose?

JCC: At the airport, when going through Customs — I have an American passport.

All of that identity stuff goes out the window because it’s 90 percent American.

I speak English, I look like I’m from America, I have a blue passport. So there’s no confusion about being American. That’s one area.

MD: How did those experiences affect you?

JCC: At an early age it would mess with my self-esteem.

Because I always felt like an outcast, like I was too dark and didn’t fit in. I felt like all the cute girls would like the other guys and not me. So the one way that I would give beyond that was that I had to be better at something. So I did well in school and sports.

MD: What makes you uniquely you?

JCC: I developed a sensibility to try to understand what I don’t understand. Take my mother for instance — if we go to a fancy restaurant, she’s going to ask for rice and beans, because that’s what she believes everyone should eat and that’s a good meal for her.

I’ve learned to appreciate that,

MD: Do you remember when that notion of having to “be better” really sunk in?

JCC: No, I don’t remember. I think part of it was just in my nature to be competitive. I’ve never been one who’d talk

smack, but I’d excel so I could be better, not by talking but by showing.

Those things happened when I was a kid and I didn’t really make sense of it. It did impact me and how I felt. So even in to high school, I know people who continue to make a distinction between light and dark skinned people.

MD: Dominicans – more so than others?

JCC: Yes, I think so. They are a lot less apologetic. Whether or not that’s true, [it’s been my experience].

JCC: Back to what makes me unique? Having a sensibility from both painful and good experiences experiences over the years ­— I am very accepting, very accepting — I’m a lot more open-minded.

I have moments when I could be angry about things, some of the injustices on people who are dark. For example, recently in the Dominican Republic, there are Haitians doing the work no one else wants to do and many Dominicans don’t want them there. They [Dominicans] will take any opportunity to knock them down — somebody will make reference about the current political stance and economics but they lose sense of the fact they are just

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EXECUTIVE STRATIGIST people who are looking for a better way. I think my experiences have made me more empathetic about that kind of thing.

MD: How does your family in the DR view you?

JCC: My Dominican relatives consider those of us born here to be American, so my siblings born in the DR are considered Dominican, no matter how much we look alike or have shared American experiences, we are viewed differently.

They know we are Dominicans and they make a point to say that, but I think they almost have an expectation of us being American so maybe not eating the same foods they would normally eat when we are not around because they are catering to us.

MD: Give me an example.

JCC: Like platanos ­— I love platanos and would love to have them when there and I know they eat them all the time when we are not around.

But when we’re there they may serve goat or fish and it’s a big production. They will normally eat fish, but when we’re there my cousin will go through a lot of effort to get a big fish and make it fancy with spices (and insist on you eating all of it)! My family there was really poor — and when I was young they would make special allowances to make sure the American relatives were comfortable when we would visit. We used to go there and they basically had built their home and then you walk into the backyard, basically tin roof and they had walls and stuff.

Even going through all of that, they would boil the water so we could have warm water for our bucket bath.

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MD: You’re enjoying a great career; went to college. How and where has straddling impacted you professionally?

JCC: I think that corporate America makes this a big issue. I think this whole notion of African American; Asian American; Pacific Islander, etc. is so they can categorize so they can put forth affirmative action plans. I wasn’t around when affirmative action plans existed but I can’t imagine why corporations would want to label people. So being able to check a box for nomenclature could sometimes be an advantageous thing depending on what the organization is trying to accomplish. I think the reality is that it hasn’t made a difference to be one or the other. You’re black or you’re Latino.

I don’t think people are seeing you as a hybrid.

MD: What box do you check?

JCC: I check the Latino box. When they ask for my race, I check black because Latino is my culture and it isn’t a race. They force this on you and want you to think about this a certain way.

It’s not always that clear. Your race could be black but your culture could be white. I happen to be black and I own that and I’m proud of that, but my culture is Dominican.

MD: What advice would you give to the next generation?

JCC: Be comfortable with who you are, no matter your age and be comfortable with where you come from. You don’t have to make a choice.

Flores Mexicanas by Artist Diana Vega

Too foreign for home, too foreign for here, never enough for both

~Ijeoma Umevbinyuo, Diaspora Blues

Courtesy of Hubert Kang

Coal Harbour Seawall

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VANCOUVER

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Courtesy of Hubert Kang Gastown

rom the humblest of beginnings­— Vancouver was founded as “Gastown” supposedly because its first saloon was started by Englishman Jack Deighton (known as “Gassy Jack” due to his loquacious nature).

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Today Gastown is a historic section of the Canadian metropolis. The area still is peppered by pubs reflective of its roots.

Granville Street

Burdock

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Capilano Suspension Bridge

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The awe-inspiring city is glorified by breath-taking forests, grand parks, immersive art and architecture that beckons travelers to explore.

Its Olympic venues and Olympic Cauldron from the 2010 Games still are sights to behold, while strolls on the shore, visits to museums honoring indigenous peoples and dizzying skyscrapers help lazy days pass with glee.

Courtesy of Tanya Goehring

Residents are friendly, laid back and welcoming — beckoning visitors to come again and again.

False Creek Marina

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First Nations Building

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Story Pole

Sea to Sky Gondola

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Blinded

by the Light

By Donnyale Ambrosine | Photography by Hayden Greene

Sophomore medical drama New Amsterdam (NBC Network, U.S.A.) and its heavily crosscultural main cast glimpse into the often awe-inspiring optimism of those who straddle identity.

iracial, tricultural actor Freema Agyeman; Domestic Adult Third Culture Kids (DTCKs), Jocko Sims and Janet Montgomery and Expat Anupam Kher exhibit amazing chemistry on the network’s latest dramatic hit.

Perhaps it’s no coincidence, as each actor brings so much personal character to their roles and each credits personal history as the foundation of their skill. Little did they know their straddling of culture helps inform these profound performances — and the ease with which they get along with each other. www.CultursMag.com

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British actor Agyeman was best known for the BBC series “Doctor Who,” “Law & Order: UK,” and Netflix’s “Sense8” before her current role on “New Amsterdam.” Her parents are Iranian and Ghanian.

Aside from her tricultural roots, she grew up in north London to a tightly knit family with two siblings and an ultra-supportive mother.

“My mum always said, “As long as you have a passion for something, I’ll support you. The minute you start wavering, then we’ll have to start having a conversation.’”

Originally interested in the sciences, and after dabbling in athletics and music, she ultimately graduated university in theater.

“I loved, loved, loved education and arts wasn’t something that was on my mind,” she said, explaining that theatre “just happened,” when a teacher convinced her to take lead in a play rather than focus on her Marine Biology dissertation. Once she hit the stage, the acting bug took hold.

Surprised by their mutual love of science, and banded together in awe of Agyeman’s mother, she and Sims were surprised to find other similarities. They both loved science (Sims originally planned to be a doctor).

Their tight-knit supportive families provided strong foundations. They each tried acting on a whim and there was no turning back.

Freema Agyeman

The differences begin in Simms’ background as a DTCK. Born in Houston, Texas, U.S.A., he moved with his family to San Antonio, Texas, at age six, then finished high school in Los Angeles. He returned to his roots attending university in Houston.

“I’m excited to work at this time, in this period, where diversity is in the forefront,” he conveyed. “It’s a good thing and I’m glad to be working to tell these amazing stories, these multicultural stories.”

Sims, a producer and actor known for his roles in “Dreamgirls” and “Dawn of the Planet of the Apes” and guest appearances on series like “Criminal Minds” and “Masters of Sex,” previously had worked on a show with no people of color in the writer’s room. He “feels the difference” having diverse writers in the room this go ‘round. Both Agyeman and Sims agree this time, this place in the industry and in the world make multicultural storylines timely.

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Janet Montgomery

I’m excited to work at this time, in this period, where diversity is in the forefront.

peppered throughout its plotlines where there are sometimes seemingly hopeless situations. Show creators make sure “the light” is apparent throughout — so the viewer can remain optimistic no matter how bleak circumstances seem.

As “New Amsterdam’s” other DTCK, Montgomery survived many moves in a small seaside town on the south coast of England. She is a veteran of NBC’s “This is Us,” Netflix’ “Black Mirror,” ITV Network’s “Downton Abbey,” and the movie “Black Swan.” Montgomery and her two siblings each have different fathers and her stepfather (whom she calls dad) still is one of her closest family members. She credits her beginnings for informing her work.

“I think what happens in the first five, maybe ten years of your life, it shapes who you are. I’m grateful for it because I don’t think I could do my job as well if I came from a different background. I think it makes me appreciate my life so much more,” she says.

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Jocko Sims

Montgomery was carrying her first child, a daughter (now 9-months-old) when “New Amsterdam” aired its first season. Because of her self-described unstable upbringing, she has made a point to educate herself on her child’s potential needs. Along the way, Montgomery has learned many of the principles that are key traits to culturally mobile individuals.

“The first few years are so vital to ensure they meet their needs as a secure person,” she confides.

“So much of it stems from things you don’t even remember.”

Also the foundation of his current work, Kher has humble beginnings in a small town in India. His extended family of fourteen, including grandparents, aunts, uncles and children, shared a home comprised of one bath, one kitchen and a one-room space for

living. As he fondly conveys his upbringing, Kher relays a notion his grandfather shared with him: “When you’re very poor, the cheapest luxury is happiness.”

He remembers that someone always was there to answer his questions, so he wanted for little. His life was rich.

In his twenties, Kher left home for Mumbai to “try his luck in the movies.”

What followed was three years living on the street, homeless. At age 28, he landed his first acting role playing a 65-year-old man and within one week signed 57 films.

The last 35 years have seen him complete 515 films. Recently, labels like “thespian legend” and “veteran” were thrown his way. Kher found it www.CultursMag.com

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Anupam Kher

frightening as those words seemed to want to push him toward retirement. For the “Bend it like Beckham” and “Silver Linings Playbook” performer, the opportunity to move to New York City and appear on “New Amsterdam” was like his childhood dream renewed.

Kher feels that though this career allows individuals to meet many people, actors share the same culture the world over. Even so, culture shock was imminent for the India native once he hit the shores of New York’s shining sea.

“[In India we] don’t have to make appointments to our friends to see them,” he shares.

“Over here, [when speaking] you say one line, then the sentence, then close the sentence [with another line].” While acclimating to east coast living, Kher enjoys visits from his family, and Skyping with his bride of 35 years who lives in India since she’s a member of Parliament. Still, the first-time expatriate is navigating U.S. life beautifully.

“I have a great sense of wonder about life. I celebrate failure,” says Kher, who feels failure is an event rather than a person.

Leaving his homeland for the wonders of the U.S. and “New Amsterdam” with all its changes seem 38

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fitting as Kher reminds us, “This series makes you believe in goodness, makes you believe in compassion, makes you think there is hope beyond all the negativity.”

ABOUT “New Amsterdam”

Bellevue, the oldest public hospital in the United States, is the inspiration behind this medical drama as it follows the institution’s newest medical director, Dr. Max Goodwin (played by Ryan Eggold).

The series is based on the book “Twelve Patients: Life and Death at Bellevue Hospital,” and its author, Dr. Eric Manheimer, who is the former Medical Director for Bellevue Health Center in New York City.

In the midst of fighting his own serious illness, Goodwin is determined to make a difference at the legendary health institution with a mantra of “how can I help?” and frequent upending of traditional bureaucracy. The “New Amsterdam” staff work tirelessly to ensure this underfunded, understaffed city onto itself serves everyone in need of care, regardless of potential consequence.

“New Amsterdam” airs on NBC Tuesday nights and can be streamed online.

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TRUTHS of

depression and

By Tara Pruett

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and

TRUTHS of

W depression hether its the holiday season or the growing occurrence seen in everyday life, depression and suicide are fartoo-much the norm in today’s society. Author Tara Pruitt bravely shared insights of her battle on social media. She allowed us to reprint her thoughts for the Culturs audience. Be advised, the text is raw and straight-forward.

MYTH: Depressed people mope around.

MY TRUTH: As I grew older, I learned to hide my depression by being “sweet” and playful. I did not want others impacted by what, at the time, was my desperately morose existence. I was depressed. That didn’t mean I wanted everyone else to be. At times I’ve also distanced myself from people to protect them from my negative vibes. I wanted to protect them. I want them to live in a world that is peaceful and full of joy.

and

MYTH: Suicide is my cry for attention.

MY TRUTH: Never once did I tell anyone beforehand that I had planned to kill myself.

Nor did I want anyone to know after the fact.

Once I took a bunch of pills and fell asleep for three days. Upon awakening on the third day, I was confused. I tried to remember why I was in this position of sleeping until about 2 p.m. that afternoon. I did not know at that point that I had slept for three days.

I never told a single soul until age 47 and this happened when I was 15 years old. I told my sister about it and I was laughing and joking about how hard it has been to kill myself. I told her about the numerous attempts I’ve made and about how I just kept waking up after each attempt — dazed and confused (usually in my own bed and twice in the hospital). I’m good at a lot of things, apparently not suicide.

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MYTH: Suicide is the worst possible outcome for someone’s life.

MY TRUTH: I’ve made some very serious attempts at committing suicide and when I hear that others are “successful,” I just see it as an opting out early on life. I see them as soaring into their next level of existence. My boyfriend once quipped about my suicide attempts, “Yes. You attempted suicide because you’re a do-er.” How hilarious and also how true a statement this is. I am not saying that I want anyone to be successful at suicide. I am saying, however, that I see it as them entering the next phase of their existence. This thing we call life does not end.

MYTH: Suicide is selfish.

MY TRUTH: This is just really ridiculous. Do you really expect someone to literally stay alive just for you — no matter the pain they are in? Let’s think about who is really being selfish here.

MYTH: There is something you could have done to prevent this.

MY TRUTH: False. Many people go through horrendous things without becoming suicidal.

This is not your fault or anyone’s fault. It is just what is happening and stop making it about you because in doing so you are creating unnecessary pain and suffering for yourself and that is the LAST THING I want to do or to be responsible for when I myself am suffering.

MYTH: If someone is depressed, they are a “depressed person.”

MY TRUTH: If you write me, or anyone else, off as a “depressed person” then you will miss the extreme joy and fun we are having with you and with this life. Engage with us in that joy and allow for the fact that we have this thing that you don’t understand, but that is not the entirety of who we are. My sister does not at all understand my depression. She just kind of observes it. She does not try to save me. She just sits with me. We laugh together. We play together. She listens.

She wonders what is wrong with me. Overall, she is happy I am here. She wants me to stay with her in this experience. She wants me to be happy and normal and free of this thing that descends upon me at times...this thing we call depression. Yet, when I am not happy and normal and free, she does not run in fear. She just sits with me in her confusion and in her loving all of me.

MYTH: A depressed person feels the gravity of that depression every minute of the day.

MY TRUTH: The truth is that we have really cool and fun and interesting experiences throughout, but our minds don’t fully appreciate them when we are in this zone. People talk about being in “the zone” and how that increases their focus on something. Being depressed is like being in a VERY painfully negative zone. It has the same effect but in a painful negative way.

MYTH: Depression is a malady. (illness, sickness, ailment, disorder, complaint, disease, infection, indisposition, affliction, infirmity).

MY TRUTH: Depression is my teacher. It shows me what needs to be changed in my life. It shows me what is important. It shows me who loves me and stands with me.

MYTH: After coming so close to death on multiple occasions, I now know “why I am here.”

MY TRUTH: I have no idea why I haven’t been successful at killing myself while others are. I have no idea what my “purpose” is. All I can say is that I haven’t been successful at killing myself. About nine years ago I decided to stop playing Russian Roulette with my life because my worst fear — worse than dying — is not being able to take care of myself and so as I’ve suffered depths of despair since 2009, I have not attempted suicide again for the simple reason that I am not very good at it.

MYTH: I am unlovable because I suffer from depression.

TRUTH: Many people have shown me that I am — even in my darkest depression. When I couldn’t see it, hear it or feel it...they have been there … just loving the hell out of me. I am loved and when I am not in my depression is when I can feel that the most.

MYTH: I am a “depressed person.”

TRUTH: I am a person who has had a pattern of being depressed. I am also a person who couldn’t read .. until I learned to read (and grew to be great at seeking knowledge in this way). I am also a person who couldn’t swim...until I learned to swim (and became powerful and advanced in my swimming abilities).

I am also a person who couldn’t speak … until I learned to speak (and now I speak and I am heard and understood). Why would this be any different?

MYTH: I want sympathy.

TRUTH: The greatest gift you can give me is the gift of NOT giving me sympathy. I want to know that I’ve brought, and bring, the people in my life joy, love and laughter. If you reflect that I’ve done this with you, then that is THE GREATEST GIFT. THIS...IS MY ULTIMATE TRUTH. This is my definition of depression. This is my definition of what it is to be suicidal and depressed. I am so free in knowing now that I create my definition of life.

THIS IS MY TRUTH.

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

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Tony

PIETRA AN INTERVIEW WITH

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

By Myra Dumapias

LIVING A BOY’S ADVENTURE TALE

f all the places I’ve lived as a Third Culture Kid (TCK) — Kuala Lumpur, Malaysia and the International School of Kuala Lumpur (ISKL) was where I discovered my love for the arts and where I felt most myself.

With rock candy breath and dark skin from days of playing outside with kids from the Philippine Embassy, the Peace Corps and the Mal-Fil community, I grew up making batik, binding my own storybooks, playing “Stars Wars” on the recorder and being in five school plays with the only international cast I’ve ever worked with.

It was a thrill therefore to discover a fellow ISKL alum recently made his debut as an independent filmmaker. His friends from ISKL may remember him as Tony Pöhlsen, but he now is introduced to the world as Tony Pietra Arjuna, creator of what’s fast becoming an Asian cult classic film called “Shadowplay.”

for me to learn about your film. Before we dive into your film, what is your “TCK story” – where have you lived and how did you find out you were a TCK?

I spent significant years in these cities in the ‘80s—90s: Jakarta, Bombay, Kuala Lumpur and Boston. I was already a recipe for the Third Culture Club before I became an expat kid: Born to an Indonesian dad and Malaysian mom and raised by a German stepdad. I guess year zero for my transformation into a westernized TCK was in 1984, when we moved to India and I entered an American international school. I somehow overcame the culture shock quickly, which probably enabled me to adapt to the nomadic lifestyle as I grew up. It dawned on me that I was a true TCK after college in the U.S.A., while returning to Malaysia to work in the real world.

It felt like I was FOB (fresh off the boat or newly arrived immigrant) in my own home country.

Ah, yes the “hidden immigrant” experience. Is being

Arjuna indulged me with a session where I picked his brain as an avid film geek and TCK who soon realized I was talking to a professional artist who created his space in a world where some of us are often “too foreign for home, too foreign for here, never enough for both,” (Ijeoma Umebinyuo, Diaspora Blues).

Tony, first of all, I just want to give you an e-fist bump!

Thanks for representing ISKL, also my alma mater, and thank you for representing Malaysia in the indie-film genre. Malaysia happens to be where I lived the longest. I have to say “Shadowplay” is the first film I know made by a TCK that has come out of Malaysia, so it was really exciting

an expat kid and a TCK the same thing? How is being a “westernized TCK” different?

I basically became a TCK as a result of growing up as an expatriate, so I don’t mean that interchangeably. I used “westernized” because prior to becoming a global citizen, I was 100% Indonesian culturally with no exposure to foreigners. An American scholastic system, a German guardian, American/European friends and of course a serving of American pop culture shaped me into the confused individual that I am now (laughs). However, I’m not confused about my Asian heritage of which I’m proudly connected to as well.

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS I appreciate that you created the film out of Malaysia.

“ShadowPlay” was released on Aug. 27 internationally.

Can you tell us about it?

Our L.A. distributor released it digitally stateside (Amazon Prime Video, iTunes, VOD) but the platforms are available worldwide. We’re working on a theatrical run in Malaysia or a deal with streaming services. In a nutshell, it’s an indie thriller that’s best described as a dark fairy tale reimagined as a neo-noir mystery. The “knight” is a private eye on a surreal mission to rescue a missing girl (a “princess bride”) but must slay a dragon in the form of his past trauma. That’s the basic premise and it gets phantasmagoric. It’s like David Lynch making The “NeverEnding Story” if Dashiell Hammett adapted it.

It really is a unique film. I believe anyone up to the challenge of joining a ride into a mystery that you not only watch unfold but participate in will enjoy “Shadowplay.”

The audience participates in piecing together different aspects of the main character like a puzzle. The use of the “choose your own path” books popular in the 1980s, now echoed in some of today’s game culture, becomes an integral part of how the storyline unfolds. Why did you choose this era and plot structure?

Those fantasy gamebooks were a sentimental part of my childhood in the 80s. Pop culture in that decade shaped me as a Gen X geek, so nostalgia is one of the reasons why I integrated a relic of that era into the narrative. I also realized that many of the beats and tropes in fantasy quest storylines correlate with those of detective fiction, which I got into as a grownup. So the fusing of these genres echoes the protagonist’s struggle to reconcile his youth with his adulthood and the Choose Your Own Adventure-type MacGuffin in his hand is an “inner child” manifestation of that labyrinthine journey.

…”Slick,” a modernization of Orang Minyak or “oily man” in Malay mythology...

Yes, the use of color and texture throughout the film also make the scenes easily imaginable as a comic book story board. The few blood scenes were part of this comic-book style use of color, adding layers to the storytelling feel of the film. There’s even an origins subplot.

If I hadn’t known the filmmaker was a TCK, I would have guessed it because there was an Easter egg in one scene that gave a strong clue. Can you tell us how much of your own story is in “Shadowplay?” Is it somewhat of an origins story as the first solo film after directing segments of “Cuak” and “Train Station?”

The 80s neon color themes and soundtrack throughout the film helps the audience to let go of today’s timeline. I think when we watch a film outside the geographical setting where a film-genre is expected, it helps the viewer to open more and not be tied to expectations — for those who get the film’s references to control, this is important. The neon colors and treatment of color in general, the use of texture — like the face oily face of…

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You’re on the money with all of the above because as a filmmaker, I’m visually informed by comic books and graphic novels as much as other movies. That’s an important part of establishing a signature in my first “solo” feature (after several co-directing or collaborative efforts) but in order to create a true directorial statement, I had to forge an identity from my personal experiences.

TRANSNATIONAL THIRD CULTURE KID FILMMAKERS is a being of two worlds and as you pointed out, he is lost in a purgatorial state between them as he is trapped between the past and present.

Identity is at the core of his introspection even if it’s on a metaphorical level. Yet it still reflects my unresolved issues with who I want to be: Malaysian or other? The dilemma even affects my career as I continuously wrestle with my desire to make films with a western flavor or to conform to local demands. Nonetheless, that’s my true voice and I discovered it after years of practicing my craft in various projects.

That brings me to my next question. Regarding the theme of how the outside world can view an individual’s internal precious journey of navigating a mystery as unstable and crazy, is there something about the value of “dreamwalkers” that speaks about the value the world doesn’t see and understand about TCKs? I think some might see TCKs as flighty or, like the Ijeoma Umebinyuo poem, “Diaspora Blues,” just too much and yet not enough.

Indeed, 50 percent of this flick is a concoction of boyhood events and my current, ongoing attempts at “adulting.” Much like Anton in the movie, I’m an “overgrown adolescent” who’s still learning to navigate through life.

One of the parts I found interesting is the use of dual or even, towards the end, triple layers of identity. As you progress in the film, even though the film is not linear in

The “dream-walkers” in the story are children of two realms; the real and the unreal, so they have the gift of traversing both. It’s a veiled analogy for TCKs because we regard the world as borderless and our intercultural molding enables us to empathize with east and west (speaking as an Asian TCK). I’m not saying that it makes us special but it does mean that we have a unique viewpoint and it is rich with stories. This is why transnational cinema is so important to me; it’s the perfect storytelling medium for the Third Culture condition. I wish to make that my forte as a filmmaker.

time — ­ there is an unfolding of identities.

The title “Shadowplay” refers to the shadow puppet plays The toggling between identities on many levels is

in Malaysian culture and art, correct? “Wayang kulit,” as

described as “unstable and lost,” both figuratively and

I recall. There is one character in the film that acts like a

literally. Can you tell us the process of how you as an

puppeteer. I noticed it right away and I wonder if other

artist came to funnel all the angst, confusion, sense of

TCKs will, because the desire to be in control was sort of

being unsettled — typical experiences many of us TCKs go

“childhood global nomaded” out of us each time we moved

through? How did you go from where you were to where

after happily settling in one place. What message or story

you are now?

is connected to the reference to Wayang kulit and puppets?

Even though I had my share of growing pains, my Third Culture childhood was generally positive, but in retrospect, many of those mixed emotions that you mentioned were real and I channeled them for the protagonist’s crisis. Anton

Yeah, the title alludes to Wayang kulit to ground the film in its Nusantara roots (spelling out that this is a Malaysian movie) and to convey the subjectivity of reality: The silhouette on the screen or the puppet behind it? What do we see www.CultursMag.com

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS

first and which do we choose to believe when presented with a tale?

Just like the dance teacher who believes that he is pulling his pupils’ strings, we’re not always the tellers of our own stories.

Anton and the audience that he represents are challenged to decipher what is tangible and what is a projection. Who is the true puppeteer of this “Shadowplay?” Just like the dance teacher who believes that he is pulling his pupils’ strings, we’re not always the tellers of our own stories. Oh, the title is also a tip of the hat to a song by one of my favorite bands, Joy Division.

That is a deep message TCKs and non-TCKs alike can reflect on, and I’m sure individuals in the overlapping fandom of music and indie films just felt a positive disturbance in the force. I don’t want to forget the statement in the film about how children learn resiliency. I won’t repeat it word for word here because I want other TCKs to look for it in the film, but for me I connected to it because whenever I was homesick

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TRANSNATIONAL THIRD CULTURE KID FILMMAKERS “Shadowplay” is a permission-slip free invitation to join an adventure adults were supposed to have outgrown but is too fun to ignore, yet professionally challenges the boundaries between film genres. More significantly, “Shadowplay” is a demonstration of how a TCK can turn the mud that can come out of mixed definitions of home and identity and fire it into beautiful art. The sheer amount of symbolisms of the TCK identity in the film is enough for even someone who isn’t a fan of mystery-fantasies to watch it for just how you practice your craft as an Adult Third Culture Kid. Any life advice you want to leave with?

Creating a Third Culture subgenre for cinema was among my objectives and mission accomplished, hopefully. I’d encourage my fellow TCKs to find similar ways to tell their stories for posterity.

The world needs to know more about the Third Culture experience.

In keeping with the retro spirit, I’ll leave you with a rallying cry that TCKs of my generation should know: “Goonies never say die!”

for Malaysia from a small stateside (U.S.) town where I went back and forth to sometimes, I would dream about literally flying thousands of miles through the clouds to visit KL. That line had a double meaning for me.

That line refers to a rite of passage that children of the Senoi (an indigenous tribe in peninsular Malaya) undergo in their dreams. It’s absolutely key to the meaning of the film.

Watch “Shadowplay” on Vimeo to update your membership as a cool film geek, Goonie or TCK. Keep your eyes open for updates on Arjuna’s follow up to “Shadowplay,” “Devoted,” a drama/thriller series about a cult that is streaming on OTT platform Viu Malaysia. Arjuna was the main director and show-runner for “Devoted.” Arjuna also recently co-directed on “Red Storm” (a Chinese actioner) and two upcoming horror flicks: “The Dark Eye” and “Safari Mall.” CollabFeature film “Train Station,” involving 40 filmmakers from all over the world, received multiple film festival awards in the U.S. and internationally.

And that’s another layer! This film just oozes TCKness and I really think TCKs will catch a lot of the TCK Easter eggs.

I caught six solid tangible TCK Easter eggs, represented in visual images, song lyrics, and characters’ lines, including the one I just mentioned about resiliency. Would you agree there are about six TCK Easter eggs that TCKs can usually relate to?

You are totally right about the Easter eggs (i.e. the theme song, “Homecoming”), although I must admit that half of them were latent.

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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.

THE MUST LIST

MUST l WATCH

I’m not from a place.

I’m from a people.

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“ALIEN CITIZEN:”

is the filmed version of Elizabeth Liang’s internationally toured, comical and poignant one-woman show about growing up as a dual citizen of mixed-race heritage in Central America, North Africa, the Middle East, and New England.

E

lizabeth Liang is a Third Culture Kid (TCK).

Liang weaves humorous stories about growing up as an “Alien Citizen” abroad with American commercial jingles providing her soundtrack through language confusion, first love, "racial ambiguity," culture shock, friendship, Clark Gable, sexual harassment, and sandstorms…

She deals with the decisions most TCKs make repeatedly: to adapt or to simply cope; to build a bridge or to just tolerate. From being a GuatemalanAmerican teen in North Africa to attending a women’s college in the USA, “Alien Citizen” reflects her experience that neither one was necessarily easier than the other. How does a young girl cope as a border/culture/language/religion straddler in-country after country that feels "other" when, in actuality, she is the “other?" Where is the line between respecting others and betraying self?

It is touted as the only intercultural solo show that highlights experiences of being multiracial, binational, multilingual, nomadic and female—living among many different worlds—all at the same time.

Although the narrative is largely in English, Liang speaks five languages in the film and depicts more than 30 characters living in Guatemala, Costa Rica, USA, Panama, Morocco and Egypt.

The stage production of this film has toured four continents.

For more information and to purchase, visit aliencitizensoloshow.com

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BlaBla

KIDS Peru

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“Our mission is to delight and inspire children by creating artful earth friendly soft toys.”

- BlabBla Kids

eruvian artists hand knit the BlaBla Kids unique products for your inner child or tiny human. Designed by Florence Wetterwald, a French native living in Atlanta, U.S.A., the designs are classic with a modern twist. BlaBla dolls take a life of their own with many characters and personalities.

Using Fair Trade practices and sustainably sourced cotton, the company’s artisans have worked with them for almost two decades. BlaBla Kids has supported artisans through the years by building houses after earthquakes, funding a school lunch program and providing computers for their artisans’ children. The biggest impact, however, has been steady, consistent knitting work for each artisan over the years.

Blabla Kids sells its products in more than 40 countries, and online at blablakids.com

ULTRA SOFT SYMPHONY THE MERMAID likes warm showers and starfish barrettes.

She calls her friends on her shell phone to meet at the seafood aisle. $64 — $51 US

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MUST l BUY

United Kingdom

THE PERFECT GIFT for the men you love

Catherine Tough started her textile company in 2000 after graduating from the Royal College of Art in London. She hasn’t stopped knitting since.

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Made of 80% lambswool / 20% polyamide these beauties come in men’s 8.5 - 11.5 US

Tough co-designs the socks with Studio Manager (and life partner) Chloe Whale. The third team member, Milton Ogakgole, who hails from Tanzania, manages the company’s online presence and brand development. The company’s designs are inspired by colour and pattern on the trio’s travels, including to visit the Portugal-based sock factory. Based in East London is her team of three overseeing design and production of these fabulous woolly treasures.

Another reason to love this brand? They donate all woolly sock seconds to London-based homeless shelter over the winter. (Did you know socks are the number one request for those experiencing homelessness?) www.CultursMag.com

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MUST l BUY

Arae Arae Apparel

White Mittens with 100% boiled wool and mongolian lamb fur.

Rocky Mountains, USA

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The designs are eco friendly using local makers who hand dye, cut and sew the collection. The entire collection is zero waste, often creating from one single piece of fabric without using patterns or cutting. Styles using patterns are designed to waste as little as possible. All of the silk and boiled wool is hang dried, outside, by the natural sun and air.

Arae supports the Denver, Colo., U.S.A.-based Sakura Foundation, which celebrates JapaneseAmerican heritage, culture, and community.

Available in the U.S.A., Australia and online. Visit www.araearae.com to find a store near you.

achael Levine created her brand of wearable art as an “array,” an impressive display or range of a particular type of thing. Derived from array and Levine’s childhood nickname, Rae, Arae offers one-of-a-kind apparel and accessories hand-dyed on silk and boiled wool using Shibori, an ancient Japanese tie-dye technique that creates imperfectly beautiful patterns that allow customers to express their own creative styles with every wear.

Descending from a long line of artists and entrepreneurs, Levine draws inspiration from patterns, textures, and colours found in nature as well as elements traditional textile techniques of different cultures to which she has traveled. She was introduced to a sewing machine at a young age, Levine’s canvas has been fabric since.

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MUST l BUY

Mohair Allover

Fringed Shrug South Africa

K

OLUNTU means “community� in Xhosa, a national language of South Africa. The company aims to create community by connecting consumers to one-of-a-kind products handcrafted by local artisans.

As a company, Koluntu celebrates the wonders of Africa: vibrant landscapes, tenacious people, and a dearth of natural resources. Each collection holds unique pieces of the native land, hand crafted by the native peoples. The company works to empower locals by sharing their hand-crafted items, and their uplifting stories, with the world.

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Winner of the Best New Product at the New York Gift Show, this fluffy, shaggy, fringed allover shrug cocoon's the wearer in a cloud of warmth. Each piece takes a dedicated six hours to produce. Produced from what its makers call "the world's most sustainable Mohair," the shrugs come in one size (to fit most), and are available in Cream, Grey, Stone, Mocca, Navy, Charcoal and Black.

Visit koluntu.com to find a store or order online. $445 US

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MUST l BUY

N

icaragua Home Goods

The Central American country of Nicaragua is known as the land of lakes and volcanoes. The unique beauty of the landscape, the abundance of extraordinary natural materials and the long history of fine craftsmanship have made this country a rich resource for artisans and designers. Artisans of Nicaragua is a Collective sponsored

by APEN, the Association of Producers and Exporters of Nicaragua, is a business chamber of artisans and exporters who work to offer local products globally.

It is a private initiative with the Swiss Cooperation for Central America.

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Their newest collections are designed to demonstrate the country’s materials and the craftsmanship of its people. Artisans of Nicaragua is comprised 500 artisans around all the country of Nicaragua.

Find where to purchase at artisansofnicaragua.com or visit @Artisansofnicaragua onFacebook and Instagram.

Nicaragua

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MUST l BUY

Copper Signatures Art Wear

Photographer: Carlos Vincent; Stylist: Keith Grant; Model: Holland Cameron

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eidre Hardin is the Designer and Chief Visionary Officer of Copper Signatures Art Wear. Custom couture art wear designed, handcrafted, cold forged and crocheted solely by its maker. It is artwear for the decolletage that according to Hardin, “makes a beautiful statement without saying a word.” She creates uninhibited bold style for everyday or special occassions that capture the glowing energy of copper along with mixed media elements such as glass, seed, wood, clay, textile, gemstone and other found objects that blend into a larger-than-life statement. Each piece is one-ofa-kind, distinctive, and special to a reason, season, or life event. Hardin’s art can be adorned on the person; or displayed as wall art.

Photographer: Kieonne Young; Model: Carolyn Tarpeh

Kieonne Young

Texas, USA

All design work is done in a seasonal series of ten and/or made to individual order.

Prices vary from $30 US and up, available for purchase at shop.Cultursmag.com

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MUST l BUY

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Limited Edition Custom Crafted Leather Bags

Made by a single mom in a small mountain village in Guatemala, these custom, handcrafted leather bags are commissioned by the “Ordinary Missionaries” organization. The hope is to keep their single mom busy so she doesn’t have to work in a “fabrica” (which means factory but is code for sweatshop). The bags are 12” tall 17” wide at the top and 13” wide at the bottom and have a pocket inside.

Only 100 available. $155 US Free shipping using code CULTURS at ordinarymissionaries.org/bag

Guatemala

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Our Gift to You

Culturs’ 2019 LookBook - Amazing photos of the glorious cultural locales the Culturs team brought to you in 2018.

Each year, we celebrate the amazing destinations you requested we visit in an all-encompassing lookbook that marvels at our extraordinary global finds. Peppered with stunning photography, it’s a nod to the many cultures that make up our audience. It’s our exclusive gift to you for becoming a subscriber.

Lookbook cover

This FREE digital compilation is yours when you subscribe or renew a subscription to CULTURS magazine.

Subscribe to Culturs, and Save up to 47% today!

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MUST l BUY

LOVEPOP CARDS

Lovepop is on a mission to create one billion magical moments with an “imagination meets engineering� approach to designing unforgettable pop-up cards.

ounded in 2014 by two U.S. naval architects, Lovepop creates exquisite laser-cut pop-up cards designed with ship-building software and handcrafted in the ancient Japanese art form of kirigami.

This global company has teams in Boston, U.S.A. and Vietnam. With hundreds of unique designs, Lovepop can make any occasion magical.

From $10 US at lovepopcards.com

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Boston, USA

Upon opening this space birthday pop-up design, an astronaut appears fully suited, suspended among the stars. The astronaut holds onto three colorful planet balloons.

The background is beautifully illustrated in an astro-blend of pink, purple, and blue.

A beautiful single stem pink lily is laser-cut onto the front of this bright green card.

Inside, the lily bloom pops to life, with 3D petals, pistil, and stamen in bright, vivid colors.

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Out of Waste Comes Beauty RARITY South Africa was born in the spare room of a rented apartment when a South African farmer asked to create something from the beautiful natural materials they usually discarded. To address this wastefulness Rarity developed its first signature springbok bags.

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South Africa

Y

ears later, upon opening a design studio in Cape Town, South Africa. The company aimed to grow the prominence of the South African design sector globally and increase the social and economic opportunities for the marginalized producers and suppliers.

Now reaching more than 13 countries, Rarity’s style reflects the story of South African individuality along with the unusual mixing of natural materials to represent this eclectic mix of a diverse society. Its “slow fashion” philosophy is achieved through artisan training, sustainable employment of artisans, use of selected natural indigenous materials and mindfulness of all production processes to support their country’s natural heritage.

Rarity believes in and practices the ten principles of FAIR TRADE, as It proves that greater justice in world trade is possible. FAIR TRADE highlights the need for change in the rules and practice of conventional trade and shows how a successful business can also put people first. It also represents a tangible contribution to the fight against poverty, climate change and economic crisis.

See their Beautifully handcrafted offerings at Rarityhandbagsafrica.com

W 10 m

Upper left: The Feather Clutch $257 Top Right: The Yumi $198 Bottom Left: The Holly $82

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MUST l BUY

Skincare focused on

Melanin

California, USA

t may not be common thought, but every single person on earth has melanated skin. Melanin is produced by skin cells called melanocytes and it functions as the body's built-in UV protection.

How much melanin each of us has depends on heritage, genetics, and ethnicity — specifically how close our ancestors lived to the equator and how their skin adapted to protect them from the sun.

AVYA Skincare is formulated using botanical ingredients like turmeric, neem (Indian Lilac), and peony to penetrate deeply into the melanin pathway to help stabilize and control melanin in order to reverse skin concerns like hyperpigmentation, texture, and tone.

Available for purchase at avyaskincare.com

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AVYA Anti-Aging Power Serum w/ Vitamin C Combat free radicals with a serum, made for higher levels of melanin, uses vitamin C to boost antioxidants and works to tame inflamed skin and reduce hyper-pigmentation all in one. $110 US

AVYA's Travel Set was created for darker skin tones to help stabilize melanin. The set includes mini sized products that kill bacteria from dirt and sweat, brighten overall skin tone and de-puff with anti-inflammatory ingredients like neem (Indian lilac) known for it's an anti-bacterial properties, turmeric high in antioxidants, and vitamin c for a glowing complexion.

Perfect for gym, travel or on-the-go, the set comes in a compact blush zipper pouch and contains 5mL sizes of the Anti-Aging Power Serum w/ Vitamin C, Day Moisturizer with SPF20, and Eye Bright Cream w/ Caffeine. $55 US

AVYA Day Moisturizer SPF20 Made for darker skin tones in mind, this moisturizer is packed with 20 SPF and 100percent zinc oxide.

Paired with turmeric, neem, and peony, Avya proports to make skin feels less inflamed, look brighter and sport a more even tone. $95 US

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MUST l READ

Tayo Rockson

Use Your Difference

Gerald Ambrosine

...a must-have resource for any educator, parent, leader, manager, or team member of an organization that interacts with co-workers and customers from diverse cultural backgrounds.

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igerian TCK Tayo Rockson, grew up in five countries across four continents.

He’s made it his life mission to use the resulting differences stemming from his cross-cultural upbringing to make an impact around the globe.

Currently a cross-cultural expert and president of UYD Media, Rockson encourages readers to become more culturally competent in an increasingly diverse world his newly published book, “Use Your Difference to Make a Difference.�

In the book, he outlines how our increasingly interconnected, digitized, and globalized world presents immense opportunities and unique challenges for cultural communication. Institutional interaction in a diverse range of cultural and national backgrounds increase opportunities for miscommunication, errors in strategy, and the unintended consequences that come with them.

With the vast availability of information available today through technology, Rockson cites that understanding how to navigate these and other pitfalls requires adaptability, nuanced cross-cultural communication, and effective conflict resolution skills. The book aims to provide readers with a skills-based, actionable plan that transforms people with differences into agents of inclusiveness, connection, and mutual understanding.

This innovative and timely guide illustrates how to leverage differences and move beyond unconscious biases, manage culturally-diverse workplaces, and create more tolerant schooling environments, more trusted media, and institutions around the globe. The 222-page, hardcover reference provides detail on teamwork, leadership styles, information sharing, delegation, supervision, giving and receiving feedback, coaching and motivation, recruiting, managing suppliers and customers, and more. With an intent to assist in managing essential aspects of international relationships and cultural awareness.

It can help employees better understand and collaborate with clients and colleagues from different backgrounds; assist teachers in building safe environments for students to be themselves, and strengthen cross-cultural competencies in individuals and their organizations.

Touted as a must-have resource for any educator, parent, leader, manager, or team member of an organization that interacts with co-workers and customers from diverse cultural backgrounds.

Available at Amazon.com and bookstores throughout North America. $28 US, $34 CAN

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ORDINARY MISSIONARES

By George Sisneros

One of the things expats, missionaries and TCKs have in common is their ability to adore where they are, miss where they’re from and feel like they don’t fully belong anywhere, all at the same time.

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ORDINARY MISSIONARIES

Five things I love about Guatemala I love the culture. I love the colors and smells. I love that streets are always crowded. I love the vendors selling everything from tortillas to bed mattresses.

I love the people. Some of the very best people I’ve ever met are here. They are uncommonly kind and hardworking. If there were an Olympic event for hard work, Guatemala would medal.

I love the weather. Guatemala is known as the land of eternal spring. The average temperature is 76 degrees. Don’t get me wrong, it gets cold.

One winter it dropped to 73!

Although adoptions have been closed since 2008, as permanent residents, we were able to adopt 4 siblings. It’s a slow process, but Guatemala gets this right. There was an intense screening process but no cost to adopt.

I love that we could adopt.

I love the slower pace of life. There are people going in all different directions, but there’s a patience about it all. Everyone seems happy and kind. It reminds me of a scene from Beauty and the Beast.

Five things I miss most about the United States I miss my family. I miss my oldest daughter and my two grandchildren and I miss my mom. I wish I could just stop by for coffee. We can talk for hours. I miss that.

I miss the mountains. I miss hiking and camping with my dad. I miss the opportunity to take my kids fishing.

I miss seasons, especially fall. I miss the aspen trees changing. I miss the crisp air. I miss the first snow. Actually, I miss snow.

I miss convenience. I don’t think you can have a slower pace of life and convenience at the same time so I’d take the slower pace of life, most days.

But some days I just want to go to Target or Home Depot and find everything I need.

I miss drinking water from the faucet. When I visit the United States, I’m still very cautious about the water. Even though I know it’s ok, I always ask if the water’s safe to drink.

What do you love? What do you miss? Where do you feel most at home?

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LIFE MASTERY

By Shanthi Yogini

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LIFE MASTERY

THE ART OF LIFE MASTERY: How to Take Charge of Your Life

hat is Life Mastery?

Life Mastery is the ability to master or take charge of one’s life.

I can say with confidence that I am now able to take charge of my life in all situations. But it was not always like this.

There was a time in my life when I felt disempowered. I had a great job, an apartment, a car and a beautiful child. Yet, I had forgotten how to be in charge of my life. I was a single parent with my one-year-old daughter at that time, and had come from India to the United States — halfway around the world — hoping to heal.

It took two years to heal and to become joyful again.

Richard Silver

I asked myself four questions and answered them to learn the art of life mastery. They are: 1. What does Life Mean to Me? 2. To Whom did I Give My Power Away?

3. How Can I Take My Power Back?

4. What would be My New View of Life?

Now, I am going to ask those questions to YOU.

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LIFE MASTERY

TO WHOM DID YOU GIVE YOUR POWER AWAY? WHAT DOES LIFE MEAN TO YOU?

Do you think of life as a combination of Environment, Experiences and Expressions?

Environment includes our family, the schools where we studied and our community. It may feel like we have no control over any of these. We cannot change our parents, siblings or other family members.

Sometimes we feel helpless and may be forced to accept things for what they are.

Experiences ALWAYS belong to the past, over which we have no control. Kindly note that “experiencing” is a verb in the present, while “Experiences” is a noun connected to the past.

You may say: “I am sad because this tragedy happened.”

“I am upset because he lied to me.”

“I am anxious because of my family.”

“I am guilty because I made mistakes in life,” and so on.

It is easy to misunderstand that our current life situation is because of an abuse, a childhood trauma, family situation, the culture in which we grew up, or some other factor.

If that is so, then where is the question of taking charge of your life? What is really in YOUR control? Especially when medical science can say, “This persistent mood is because of your genes or because of your brain chemistry.”

Expressions in the form of emotions, character, behavior, values or habits, seem to be a result of environment and experiences. It appears as if your emotions — sadness, depression, anxiety, regrets, or anger are not in your control.

Indeed, you cannot change anything in the past — no one has learned the science of time travel. Of course, the past has some influence over your present. But, does the past have power to DECIDE your present or future? No, it doesn’t.

If so,

That leads to the third question.

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LIFE MASTERY

WHAT WOULD BE YOUR NEW VIEW ON LIFE? HOW CAN YOU TAKE YOUR POWER BACK?

Then, “Living” happens in the present. You have a new present every moment. You may not have control over what you ate for breakfast or lunch, but you have control over what you eat for dinner.

It is not controlled by your past, though it may be influenced by it.

Every moment that comes to you from now on is fresh with infinite possibilities. At every moment you can choose what to do, how to behave, what to experience or how to respond.

If the past influences your present, then your present determines your future.

Since we looked at life as a combination of Environment, Experiences and Expressions, let us see our choices in them.

Living your present in such a way that it can create a future that you want is called “Life Mastery.” Then YOU become the master of your life and destiny — NOT your past, your circumstances or people around you.

Environment: This moment, you can choose to change some aspects of your environment. You can choose to be around friends or people who motivate you and inspire you to live to your highest potential.

You can choose NOT to be around people who won’t bring you the highest good.

Experiences: This very moment, you can choose to not linger in the past. You can choose to retain the lessons but let go of the past. You can choose not to imagine the worst and suffer from fear or anxiety.

Thus, you can change how you experience the present moment.

Expressions: When environment and experience change, how you express yourself to others also changes. When the next moment comes, look back at the previous moment and say, “My experience was pleasant, joyful,or fun.”

Life is beyond our parents, who were responsible for most of our past environment and beyond our past experiences. Life is beyond our past expressions through behavior, habits or values, which we may call as our identity or personality.

How can you live in the present with the least influence from the past or other factors of life?

This is where the ancient science of YogaH (called Yoga in the modern days) becomes important. Exactly what YogaH is, we shall discuss another time.

To conclude, it does not matter how bad your past was. You now have the opportunity to be who you want and choose how you want to show up in the world. It’s all thanks to the present; it is truly a “present” (or gift) given to us by life.

Now, remove any mental block! Believe in yourself.

Believe in the infinite possibilities that are in store for you. Set the intention!

I tell my students — To Master Your Life, Don’t DO YogaH, LIVE YogaH!

So what will you do today to start mastering your life? www.CultursMag.com

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THE CULTUR’D HOME

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THE CULTUR’D HOME

The Alpha’s well-equipped kitchen (above) and hidden convertible dining table make for epic dinner parties.

HOME on the

ROAD

By Donnyale Ambrosine

he tiny home movement has burst onto the scene in the last few years in locations all around the globe. From Australia and New Zealand, to Canada, Europe the United States and beyond, many people are imagining themselves “living small.”

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THE CULTUR’D HOME

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THE CULTUR’D HOME

The crew at Culturs is no exception. As a variation on the “Cultur’d Home,” we’ve been working with New Frontier Tiny Homes over the last few months to check out their offerings and potentially secure one as a future CultursCASA for our quarterly Cultural Celebration community kitchens for 10 guests.

Left: Dual glass garage doors with a drop-down porch make timy feel expansive; while the Alpha model’s loft bed exudes coziness on even the coldest nights.

Below: Alpha comes complete with a full-sized washing machine and soaking tub.

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THE CULTUR’D HOME

Fun-filled days or serene nights, Alpha’s versatility is boundless.

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THE CULTUR’D HOME

We were enamored with NFTH’s Alpha model, which houses a full-sized bath, complete with jet tub, complete kitchen and pull-out dining for a host of guests.

The Alpha also boasts a glass windowed garage door and pull down porch, to help bring the outside in and ensure the small structure feels anything but tiny. Check it out for yourself and tell us what you think.

Could you live tiny?

For more information on this and other high-quality tiny homes, visit NewFrontierTinyHomes.com

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TECHNOLOGY

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

FEAR, FAITH FILM

&

Two CCKs capture and share their extraordinary global journeys on film.

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Augusto Valverde and Alex Harz had never met one another before I introduced them. They each presented work at the fifth Annual SeriesFest, a festival dedicated to showcasing innovative episodic content from around the world.

On the surface, the two men have very little in common. After digging a bit deeper, however, I found surprising common threads.

Both use the power of modern technology (digital video, social media, and even virtual reality) to share their incredible travel adventures with the world. And, for both, the real adventure is the journey of self-discovery, cross-cultural connections, and spiritual awakening found in traveling with a deeper purpose.

TECHNOLOGY

THE LOUD LITTLE VOICE

WHERE IT BEGAN

Augusto Valverde of Global Child TV

Cinematographer Alex Harz

Augusto Valverde was born in Miami, Fla., U.S.A. and raised in Mexico City. After graduating from high school, he studied abroad in Paris, then returned to Miami to begin university studies.

Just then, a lucrative job as a club promoter pulled him away from late-night studying to late-night partying. He dropped out of college and became a highly-successful promoter living a life with endless streams of wine, women, and song.

One night, after throwing yet another huge house party for hundreds of people, Valverde got on his knees and prayed for a way out of his empty life into fulfillment and purpose.

“I don’t know what I’m supposed to do with my life,” he prayed. “So, whatever you want me to do, please tell me and I’ll do it.”

Alex Harz was born in Malaga, Spain. His mom, an English teacher from the Midwest, had moved to a town near Frankfurt, Germany to teach. After meeting his dad (her first landlord), the two fell in love, had two kids, then moved the family to Omaha, Neb., U.S.A. when Harz was six. He and his brother spent each school year in Omaha and each summer near Frankfurt.

Aside from the cross-cultural travel, Harz’s life was pretty typical of a Midwestern boy.

One afternoon, at age fourteen, Harz was watching TV after soccer practice. He saw something about Mount Everest. Living in Nebraska, he had never seen anything like it — not even close. He was captivated, thinking, “One day, I’m going to climb that mountain.”

Valverde, not being particularly religious, began picking up a Bible and digging into it on a regular basis. One day as he watched TV, he heard a little voice inside ask, “If you died today, who have you helped?” After a long mental search, he realized the list was incredibly short.

“God I’m really selfish, aren’t I?” The voice answered, “Extremely.” “Ok, look, here’s the deal man. I will help people — I just don’t know where to begin. Do I sell my stuff and move?

Do I go outside and help the homeless?” And the voice said, “If you want to help, I’ll show you how.”

As an adult, Harz spent most of his time working on a radio show he had created — the first ever interactive, live improv radio show. He was active and played sports, but wasn’t into climbing or mountaineering at that time. One day while watching daytime TV, for no apparent reason, the recollection popped into his head: “Alex, when you were fourteen you said you were going to climb Mount Everest.”

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THE REAL JOURNEY

TRAINING BEGINS

TECHNOLOGY

Out of the blue, Valverde got a call from a Chaplain from a mens prison, inviting him to volunteer. At first, he resisted the persistent inner voice repeating “Go to the jail!” but eventually relented and gave it a try. “I did more good in that first five hours than I had in my whole life,” Valverde shared. “I saw men go from suicidal, banging their heads against a wall trying to pass out, to laughing in 30 minutes.

The words just flew through me because I’m able to encourage people. This was my training — it really sharpened my ability to speak to anyone.

I was so messed up in my previous life that I am no one to judge. And, from that place you can really deliver a message of hope because you were transformed yourself.”

The next day, Harz put on his old snowboarding gear and completed his first 14,000’ climb in the Rocky Mountains. It was winter, and he was completely out of shape and unprepared — postholing through snow and sweating the entire way. As painful as that was, he continued taking mountaineering and climbing classes. He got certified in Wilderness Survival and challenged himself with higher and higher climbs: Mount Rainier in Wash., U.S.A., Aconcagua in Argentina, and Denali in Alaska, U.S.A. Harz shared, “I realized during that process that this is amazing and rewarding, but not enough to justify all of this effort only to experience a summit for 5-20 minutes. I wanted to expose and reveal the rarely told stories in these amazing, fantastic places around the world.”

Ironically, around the holidays, a friend of his in the airline industry called with an incredible gift: a one-year, around-the-world plane ticket. Shortly after, he landed a voice-over spokesperson job with Verizon. With tickets and a steady paycheck suddenly in hand, Valverde had been given a life-changing opportunity.

Taking the advice of a former boss at NBC, he bought a camera and a selfie stick with the intention of creating a pilot travel show. As he traveled across Israel, Sweden, New Zealand, Tanzania, Australia, Peru, Argentina, Japan, San Francisco and Russia — he created deep connections to the places and the people he met. With a little help from friends, and the use of social media, he filmed, edited, and produced the entire first season of what would become Global Child TV.

After building his radio show to a cast of 24 and a reach more than 150 countries, Harz got the green light to embark on his most important journey yet — The Quest: Everest. He left the show to begin training three hours a day, seven days a week, to climb the tallest mountain in the world. But, Harz’s goal went far beyond the climb itself. The aim was to film and produce the first-ever Virtual Reality video of the climb to the top, and to uncover the rarely-told stories of the people of Nepal. “In order to understand Mount Everest,” Harz explained, “you need to understand Nepal and its significance from a cultural, economic, religious, and geopolitical standpoint. When we unravel all of that, we’re also telling you something about the mountain itself.” Harz spent 63 days filming in-country; 52 of those days were on Everest.

Valverde cage free diving with bull sharks in Nadi, Fiji while filming for season 3 of Global Child

THEN CAME FEAR

Harz sharing his summit of Mount Everest during the filming of “The Quest” series.

“I was paranoid,” Valverde recalled. “Like a lot of new people in the industry, [I worried] my idea would get stolen. But, the more I thought about it I realized no one can steal my voice. So, the more truthful I am to my voice — however deep, quirky, goofy, whatever it might be — that’s me. They can steal the name of my show, but they can’t steal me.” But, Valverde’s fears extended beyond intellectual property. “I’m not an adrenaline junkie, I’m more of a fraidy cat,” he admitted as he relayed the time a friend arranged a private flight with an Acrobatic Flight School in Sydney, Australia. “Courage is just a choice. I could feel the fear creeping in, ready to ruin the moment. So, I just started to counteract it with gratitude. Thank you for my life, thank you for the sun, thank you for this airplane, thank you for this great pilot who is a professional, thank you for this camera that is working...thank you, thank you, thank you.

Next thing you know, you’re spinning upside down in an airplane at 200 mph. But, rather than feeling fear you can let go and experience a sense of gratitude, and enjoy it.”

“What Mount Everest taught me, besides the technical mountaineering,” Harz began, “is that there are two mental games you’re always battling on the climb. One is that in order to summit Everest and come back in one piece, you’re going to have to go 20 percent harder than you’ve ever gone in your whole life. And the margin of error [between achievement and getting yourself killed] is as thin as a strand of hair. But, if you take this 20 percent into your daily life, you know when times are tough you can tap into something inside you that you didn’t know was there. Second, you’re going to be constantly inundated by two simple, powerful words we use every day: “and” and “but.” When you’re sitting on top of the Khumbu icefall and about to cross a ladder looking down a bottomless crevasse and you’re afraid of heights do you say, “But this is too scary, but this is too dangerous, but I don’t want to go any further,”or do you say, “And I’ve made it this far, and I can do this. And I can go further.” Imagine how this can transform your life. If you accept the possibilities of “and” vs. the limitations of “but,” you’ll be surprised at what you can pull off.”

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Valverde filming Global Child Costa Rica with Karina Ramos, Miss Costa Rica, on Santa Teresa Beach.

A CLEAR PURPOSE

“To whom much is given, much will be required,” Valverde quotes the Bible. After a long journey from selfishness to gratitude, Valverde does not take his success or blessings for granted. Through its BIG Foundation, Global Child TV is giving back at every destination in order to promote the vision of “travel with a purpose.” “That’s the bigger mission,” Valverde admitted. “The show is an excuse — a piece of the larger puzzle. Our message is for every human being (it’s important to remember we are all part of one global family). No matter our race, religion, or culture — at the end of the day we have so much more in common than things that set us apart.

It’s time to find the points of commonality and bring some light into the world, because it’s sorely needed.”

He considers it an honor and privilege to be a cultural ambassador through Global Child TV and espouses that when people understand one another, they won’t fear one another. In his mind fear breeds hate, so their goal is to inspire, unite, and entertain.

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LEARN MORE Global Child TV is an inspirational brand based around traveling with purpose that explores the world through experiences.

Life lessons are shared with the help of international influencers, social media and local communities. Global Child gives back through the BIG Foundation. Learn more at www.globalchildtv.com

LEARN MORE “THE QUEST: Nepal” shows a worldwide audience the first installment of a truly unique new TV / Film Series showcasing an epic climb of Mount Everest and a cinematic journey to reveal rarely seen stories, culture and scenery of Nepal. Filmed in stunning 4K and Virtual Reality video, “THE QUEST: Nepal” is an educational thrill ride. Learn more at www.alexharz.com

A CLEAR PURPOSE

TECHNOLOGY Today, Harz wants to inspire people to summit their own Everest, whatever that might be. “The most important thing for me,” Harz concludes, “is purpose and passion. After traveling a decent amount [I believe] there are only two kinds of people on this earth. It doesn’t matter what religion you believe in, what language you speak, or how much money you have. You’re either a good person or a bad person.

If you’re a person who lives in the Upper Mustang of Nepal or you are a member of the Yanomamo tribe in the Amazon, and you only know 50 people in your whole life — that was your entire sphere of influence. By the time you died, did you have a positive or negative impact on those 50 people?

That’s really all you can ask for. Maybe you’re a Mark Zuckerberg who has an impact on millions of people.

[The same question applies] because none of us can take a dime with us. So, if you have a purpose for what you believe you’re supposed to do in this life, and you have a passion to go after that purpose, I think that can really simplify and bring sanity.”

Harz interviewing Buddhist monk Tenzing Sherpa at Kopan Monastery near Kathmandu for “The Quest” series.

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BEHIND THE SCENES

NEW YORK

Culturs VLN Podcast partner Traciana Graves interviews Actor Jocko Sims while Freema Agyeman observes.

The Culturs team truly enjoyed their time in NYC for AdWeek, the photo shoot for this month’s cover and an exclusive cast screening of the NBC Drama, “New Amsterdam” at NYC’s famed Bellevue Health Center.

Right: A packed house swarms the red carpet for a glimpse of the cast at the second season premiere of “New Amsterdam.”

Left: Culturs Editor-in-Chief Doni at AdWeek with “Inside Edition” Correspondant Les Trent.

Right: Curly crowned Swiss Best Selling Author Yvonne Eisenring and Doni at the Female Quotient Dinner at Pier 60, Chelsea Piers.

CENTRAL PARK PHOTOSHOOT/ NEW YORK GIFT SHOW View from the Magazine Publishers Association NYC Offices — since the group’s focus will switch to lobbying next year, this marks the end of an era!

Internationally diverse models strut at the NY Now fashion show.

Left: Photographer Thomas Michael with TCK South African Ballerina Sophia Venison Brown at a photo shoot in Central Park.

Below: Doni with Sophia and her mother.

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