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These mines so often plundered just keep on giving. And they keep on taking.

Designer Stella McCartney dropped the ball. Perhaps she was too busy patting herself on the back for being a vegetarian who cares about the environment to care about being the epitome of British imperialism in the realm of cultural appropriation. For her latest runway show at Paris Fashion Week, Stella McCartney’s neocolonial use of Ankara/wax print (patterns and materials found and used in Nigeria and other West African nations) is disappointing. The dismal lack of cultural sensitivity and appropriation are so blatant, you might as well call it trolling. My tilted head and narrowed eyes are similar to the reaction of Yaya Dacosta when her style was described as ‘ethnic’ by a fashionista she was trying to work for on Cycle Three of America’s Next Top Model. I cycle past Stella McCartney store in Chelsea often. I can assure you that when they see these poorly designed creations, they will also be described as ‘ethnic’ by Lady Rebecca, AKA- Becky. I can also assure you that she still pronounces Kenya as ‘KEEN-YAA’. The history of this fabric is incredibly colonial. Dutch traders imitated the batik patterns of Indonesia and with the mass production technologies brought about by the industrial revolution, were able to sell fabric back to their colonial subjects much to their general distaste. When sales there dipped, their brightly colored fabric found new markets in West Africa. Over the course of the last century these kaleidoscopic and breathable materials have graced Black bodies beautifully and come to be associated with us at times of leisure, domesticity and high regality.
Related: THIS WHITE WOMAN’S “PROTEST SARIS” ARE PEAK APPROPRIATION

To be Nigerian-American is to be inherently unique. It’s a little extra volume in your voice, some extra peppa in your soup.

Nigerian-Americans make up a large number of African immigrant population  in the United States. If you are one of them, and were raised like me, your suburban home was transformed into a small Igbo village with four Toyotas in the driveway. The smell of stock fish wafts from the kitchen while your dad sings Flavour's Greatest Hits, and your mom scolds you for not yet having all of your times tables memorized. As a child, I just wanted to be 'regular Black,’ Frankie Beverly and Maze Black.  Now I understand that Blackness is rich with different experiences, so there is no such thing. Like the textured variances of cultures within Africa, to be Nigerian-American is to be inherently unique. It’s a little extra volume in your voice, some extra peppa in your soup. I have collected 5 things you should know about Nigerian-Americans: Jollof Rice Is Life: Jollof Rice, which is a tomato based rice pilaf dishes with traditional spices is the culinary staple of every Nigerian experience. You learn to make Jollof before riding a bike, braiding hair, counting money. Most west African nations have their own signature jollof recipe, but Nigeria reigns supreme. I am not biased. They won the Jollof Wars. We Do the bridesmaids things a bit different: Bridesmaids are cute, but the Asoebi is everything. Asoebi, is a Yoruba (a Nigerian tribe) word for "clothing of kin." It is a uniform worn by women at special formal events to signify who is really with you. Before a thanksgiving, wedding, or a funeral, the celebrants will select friends and family to be in their asoebi groups. For my wedding, there were three Asoebi groups: One of my friends and family, and my mom had her crew, and then one for my in laws. Throwing money has nothing to do with strippers: Wale caught some flack around his daughters the first birthday about spraying her with money. To someone unfamiliar with the culture, this may trigger strip club memories. Everybody needs to STAHHHHHP!
Related: 4 REASONS WE’RE NOT HAVING CHIMAMANDA NGOZI ADICHIE’S TRANSMISOGYNY

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