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How the Commercialization of Feminism Equals Activism In the Millennial Age

To get an understanding of what feminist art in the digital sphere entails and how the commercialization of feminism and feminist artwork has impacted the millennial age in regards to activism, it is necessary to first understand how and why it began. 

The first liberation movement of feminism started with the women's suffrage movements, which progressed until women were able to vote in 1920 (Frank, 2016). In the early 20th century, feminist art was barely produced because it was not allowed. However, citizens were still advocating for change and feminist art later emerged in the 1960s, during the second wave of feminism in England and the United States (ibid). Inspired by the Civil Rights Movement and provoked by Simone de Beauvoir’s The Second Sex, it was clear that what were previously regarded as ‘personal’ or women's issues were now being interpreted as consequences of the political structure (ibid).

As a result of this, many women began to protest the political systems which ruled their lives. Authority figures were now being questioned, as women aimed to create societies that were more inclusive of them. Throughout this era, feminists were dealing with unequal representation in establishments which still largely favoured men, despite many advocating for change (Artspace, 2017). 

This was particularly true for art galleries and as an outcome, feminists started to form their own establishments. These establishments aimed to create room for women to showcase their artwork, often addressing topics that feminists felt needed to be identified, as they had either previously been neglected or misrepresented. In order to truly connect with their audience and magnify the message that they were trying to convey, much of the feminist art utilized media and concepts that were not often used by men. This was especially popular and beneficial for women, especially in a time period where they were aiming to establish a space for female artists in a world that excluded them.

Some of the media and concepts utilized included items that were previously considered “typically feminine”. Along with the likes of cooking, colours and certain textiles, materials used for sewing were also  included in numerous artworks. This promoted a kind of activism which would later pave the way for female artists. As a result, it eventually allowed for them to be featured in galleries and art museums, with many female art critics such as Linda Nochlin and Rozsika Parker using this event to their benefit, placing emphasis on the fact that many females had been excluded by western art.  

In contemporary society today, feminist artists still address issues faced by society. However, it is quite different now, as the message of the artwork is able to reach a much larger audience with the help of social media as a promotional tool. One of the most popular examples of this includes singer-songwriter, Beyoncé.

In an article written by Molly Inglis from the University of Warwick, Inglis discusses how Beyoncé paves her way in the feminist world. One of the main arguments she presents is that Beyoncé moves feminism from academic texts to ways that are more accessible and easier to understand, especially for younger audiences. This can first be traced back to 2013, the year that Beyoncé released a self-titled album and identified herself as a feminist. With this identification, Beyoncé claimed a new wave of feminism but it was not the first time Beyoncé had strived to empower females.

In 2011, she released a song called ‘Who Run The World (Girls)’ where she promoted feminism in contemporary celebrity culture (Pischer, 2019). The song promotes female empowerment, but there is an interesting duality between Beyoncé’s portrayal of femininity and masculinity. Throughout the music video, Beyoncé maintains an outer feminine appearance but asserts masculinity through her personality. Masculinity is a concept often associated with power and is normally known as a masculine trait, which is why it is interesting to observe her lyric, “Girls, we run this Mother” , indicating that women have always been in charge, but the credit usually goes to men. 

In another lyric, she continues this rhetoric by stating, “My persuasion can build a nation / endless power our love can devour”. Here, Beyoncé is still asserting herself as a powerful woman, but she is also expressing a typically more feminine side by subtly stating that when it comes to love, women have all the power, as expressing femininity through sensuality is often enough to distract men. She further goes on to explain that women are capable of having families and working at the same time with the lyric, “Strong enough to bear the children / Then get back to bidness”. 

With this lyric, Beyoncé is aiming to empower women by saying that women are not only strong enough to bring new life into this world and start and maintain families, but they are equally as strong as men, as women are able to get back to business. However, the “business” that a Beyoncé is referring to differs between a man and a woman. She is arguing that not only can a woman do a man’s job, but women are expected to have their own jobs as mothers, looking after their families (ibid). 

The song centers around (financial) independence, ambition and telling females to earn their education in order to have a career. She does so through the lyric, “I’m repping for the girls / that’s taking over the world / help me raise a glass / for the college grads” and later in the song, “I work my nine to five / better cut my check”. Beyoncé uses her lyrics to discuss how she is standing in solidarity with other females and she is celebrating the dedicated women who have graduated from college and are working to get what they want. For Beyoncé, this is a successful, empowered female; someone who is feminine but is able to incorporate the ‘masculine’ traits that are necessary in order to succeed in a world that seemingly favours men. She is ultimately saying that women can play both roles to their benefit, by working hard to achieve what they want.

This type of “Beyoncé Feminism” has become a way for many young females to interpret feminism as being a powerful, independent woman who supports other females (Inglis, 2017). The attention to Beyoncé’s feminism can be traced back to the 2014 MTV Video Music Awards. It was here when Beyoncé stood in front of a gigantic screen with the word ‘Feminist’ lit up in the background. This moment was a spectacle, as Beyoncé was asserting both her gender and her blackness as intersectional symbols of power.  Consequently, the Google searches for the word ‘feminist’ skyrocketed from August 24th to August 30th of 2014 - the same week as Beyoncé’s MTV performance (Kiene, 2016). There was also a rise in feminist art, as some of Beyoncé’s most powerful and empowering lyrics were now on sold out t-shirts and posters (Farmilo, 2018). In addition, hashtags were also created in favour of Beyoncé, illustrating just how powerful her endorsement of feminism had become. 

As a result of this, hashtag activism is also to be explored. Hashtag activism is a term coined by media outlets, which often refers to the use of the popular social media platform Twitter and its use of hashtags in order to endorse social activism online (Mbabazi, 2018). The term is also commonly referred to the act of showing support for a cause through a like, commenting on a post or sharing it to other social media platforms, such as Facebook. The hashtags I will be exploring relate to Beyoncé’s music and lyrics about female empowerment, feminism and asserting blackness as an intersectional symbol of power. To do so, we first need to define these three terms and relate them to Beyoncé’s music, which in itself is an act of commercialization. 

The first term, female empowerment (or women empowerment), has no defined definition, but the definition I’ll be using comes from the European Institute for Gender Equality. They define female empowerment as a “Process by which women gain power and control over their own lives and acquire the ability to make strategic choices” (EIGE, 2019). We have previously explored this definition through Beyoncé’s song ‘Who Run The World (Girls).  The hashtags that followed after the release of the song included #runtheworld, as seen in Figure 1 below.

The hashtag is accompanied by a visual text image that reads, ‘You have as many hours in a day as Beyoncé.’ The image is speaking of how individuals, most likely females, can achieve as much as Beyoncé does and can be as successful as she is because they have the same amount of time in a day. This post could also be referring to a Tweet that has recently gone viral after the release of Beyoncé’s netflix show called Homecoming, as is addressed in Figure 2 below.

The tweet refers to how Beyoncé worked for 8 months in order to create a spectacular 2-hour performance that would be featured on Netflix. The user, Tyler McCall, states that individuals reading his post should “think about that next time [they] want something in [their] business to work right away”. Ultimately, to be successful, you need to earn it and this is the same ideology Beyoncé has continually promoted through her song ‘Who Run The World (Girls)’. The song became a viral phenomenon and a reference to leadership and motherhood, acknowledging the strength of women and the lack of representation in Hollywood when it comes to female characters and in particular, superheroes.

As seen in Figure 3 above, the hashtag in a post of a photograph of female superheroes to promote the famous Marvel movie, Endgame. Not only does hashtag activism symbolize female empowerment through various forms, it also shows how powerful a hashtag can be as it creates social awareness and activism in the digital sphere. In the case of  the Marvel film and Beyoncé’s documentary on Netflix, this kind of activism is also utilized as a tool for commercialization, as it is also promoting an agenda that will inevitably generate an income for celebrity figures to later profit from.

The next definition is feminist and it is one Beyoncé has already defined for us in her popular song ‘Flawless’. In this song, Beyoncé utilized the voice of award winning Nigerian author Chimamanda Ngozi Adichie. The song samples a TEDx Talk called ‘We Should All Be Feminists’ written by Ngozi Adichie, where she states that the definition of a feminist is ‘a person who believes in the social, political and economic equality of the sexes.’  Nicola Rivers, author of Postfeminism(s) and the Arrival of the Fourth Wave: Turning Tides,  states that ‘legitimate questions and concerns can be raised over whether the increased presence of feminism in the media, or indeed women in politics, can actually affect a broader cultural change towards feminist principles, or whether this represents a furthering of a post-feminist agenda whereby feminism is continually and simultaneously celebrated and undone.’ 

Rivers is ultimately arguing that feminism is a concept that has become central to a celebrity’s brand as it is now also constructed to the celebrity’s public persona, as is the case with Beyoncé. In other words, Beyoncé and celebrities such as Taylor Swift and Miley Cyrus, are asserting themselves as role models for mostly female fans, but their fan base is capitalized, as they use the language of feminism to endorse their own individual successes (McRobbie, 2009).

The third and last hashtag to be explored relates to how Beyoncé has asserted herself as not only a woman, but as a celebrity who is comfortable with her blackness in a predominantly white industry. She is marketing the idea of feminism and black empowerment to her audience through the utilization of the hashtag #BlackGirlMagic. The hashtag aims to celebrate achievements of black women across the globe and initially started trending when Beyoncé’s album, Lemonade, was released (Ramsden, 2016). The album’s references to America’s conservative South, black femininity and Southern cultural history intensified and examined the experiences of black American females.

The album served as a reminder that even though the world often underestimates black citizens, (women in particular) and despite the fact that females are expected to turn the other cheek when it comes to tension in a relationship in order to keep their husbands satisfied or happy, women are still strong and black females need to confront their heritage, take ownership of their African ancestry and embrace their beauty because the world will not do it for them (ibid). 

Hashtags such as these, embrace feminist attitudes within mass media and popular culture, placing emphasis on the positive impact celebrities have on feminism (Rivers, 2017). Celebrity endorsement is aiding the movement as many celebrity figures pave the way for equality in different ways. Such examples of celebrities include actress Emma Watson, who is actively taking a stand against sexism with the 'He For She' movement, actress Angelina Jolie working alongside the United Nations to focus on women’s issues in war-ridden countries and activist and actress Amandla Stenberg who continuously addresses cultural appropriation, racial pay gaps and internalized homophobia within the media (Ramsden, 2016).

Simultaneously, there has also been a lot of criticism. Celebrities are accused of depoliticizing feminism and using it to endorse their own success in order to continue building their brand. Rivers states that ‘very little space is given within these articulations of feminism to address the differing socio-political or cultural barriers women may face’. Rivers’ statement is supported by British sociologist, Beverley Skeggs, who argues that the position of a celebrity informs their response to feminism (Skeggs, 1997). She continues by saying that the focus on such a brand of feminism is based almost entirely on an individual female’s potential, rather than concentrating on what may limit or restrict said potential (ibid). This suggests that while celebrity feminism is seemingly promoting an understanding of women’s success and feminism, it’s homogenized understanding of this success actually devalues the experiences of women who don’t fit into the definition of celebrity feminism, as success is often accompanied by labels such as ‘strong’, ‘independent’ and ‘financially independent’.

At the same time, these women must not be too independent, in fear of them being labelled as ‘man hating feminist’ (Rivers, 2017), a term often associated with feminists in the past and a term used when accusing women of misandry, today.  The type of feminism that is promoted by celebrities today emphasizes intersectionality and the support for ‘every woman’. There is somewhat of an expectation [for women] to love themselves, accept imperfections and continuously do better for themselves financially. The use of hashtag activism associated with Beyoncé and other high-profile celebrities who assert themselves as feminists and who stand in solidarity with other females is a new wave of feminism within the millennial age, arguably with Beyoncé as the face of the trend that has become celebrity feminism.

Andi Zeisler, co-founder of the non-profit organization Bitch Media, proposes that this newfound popularity signals a successful rebranding of the feminist movement. She refers to it as ‘marketplace-feminism’, arguing that feminism has lost some of its authenticity since it has been “decoupled from politics” and is “staunchly focused on individual experience” (Zeisler, 2016). Zeisler also links marketplace-feminism to capitalism and states that nowadays, any decision can be presented as a feminist choice, mainly because a woman chose it (ibid) or using clothing with feminist slogans  on them. Examples of such slogans include lyrics to Beyoncé’s songs, quotes such as “I Blame The Patriarchy” and “GRL PWR”. These branded items of clothing may raise awareness regarding feminism and women issues, but they fail to impact the sociopolitical issues women are facing as Zeisler argues that these forms of feminism only serves as false reassurance (ibid). 

Many of us (millennials) are proud owners of the feminist t-shirts and merchandise that Zeisler speaks of and it is clear to see that there has been an increase in feminist movements, hashtag activism related to feminism and celebrity figures in our contemporary society and public sphere (Kohn, 2017). Philosophers Adorno and Horkheimer once argued that the public are seen as reason and autonomy, a way of using the right to free speech in a world that is quite the opposite.

 It consists of an excess of rationality, bureaucracy and a capitalist ideology as enlightenment is now the deception of the masses due to industrially produced “culture” robbing people of their imagination and taking over their thinking (Horkheimer & Adorno 2017). Culture, or in this case feminism, has now become part of the industry as feminism itself has become a commodity through mass media (ibid). This is important if we look back at Beyoncé as an example, because when you are a celebrity, you become the product with the intention to make money (ibid). Every person has different ideas over what being a feminist entails and many are extolling the virtues of economic success and aligning themselves with a  post-feminist sentiment that promotes a feminist cause publicly (Rivers, 2017).

Celebrity feminism is a phenomenon that is too often associated with individualism and agency with powerful and high profile celebrity figures, such as Beyoncé, at the forefront of this phenomenon. This movement strives to empower not only women, but marginalized women and create a united community of strong, successful females who stand together in solidarity. In other words, we can argue that celebrity feminism aims to create a global sisterhood which places emphasis on intersectionality, independence and success of females. Quotes and motivational speeches by celebrities who assert themselves as feminists, such as Emma Watson and Laverne Cox, create the idea that in a contemporary society like our current public sphere, celebrity feminism is inclusive and intersectional in its approach (Skegg, 1997). 

However, there has been criticism as authors such as Zeisler and Rivers have stated that, despite celebrities having the opportunity to raise awareness for socio-political and cultural barriers, many use feminism as a tool to push their own agendas in order to endorse themselves as a brand. This has a huge impact on their audience; as has been demonstrated with hashtag activism and the increase in the Google searches for the definition of the word ‘feminism’. The idea of feminism has undeniably been promoted. At the same time, however, the notion of celebrity feminism, and perhaps more importantly, the “feminist” definition of celebrities success, are frequently rooted in a ‘narrow, neoliberal preoccupation with individual achievements and wealth, which can fail to translate into wider, systemic gains for women’.

When it boils down to it, feminist content online is simply that - online content. When it goes viral, it creates awareness and this can still be a good thing. It is able to reach a much larger audience that may not necessarily discuss women’s issues, debate about why Islam doesn’t equal terrorism, or why it is necessary for men to be able to express emotion. The imbalance of power is not being challenged by what you consume. Instead, it is being purchased due to mainstream clothing companies marketing feminist slogans, and even celebrities, capitalizing off of the recent trend that is feminism. 

To conclude, in order for the movement to truly be effective, it needs to gain recognition and the commercialization of it can, in fact, be beneficial.  Despite all of this, commercialization can arguably also be considered a good thing, because it is still advocating for equality - even if the intention is only to make money.

A World of Words: This Month's Reading Recs

Whether you’re enjoying your current reads through phone screens or the pages of books doesn’t matter - the magic is still the same. Words are powerful, and even though we no longer have the luxury of seeing each other face-to-face as much as we’d like to, written words still stand. Here’s what the…

Look Up - Ignore The Noise

Do you hear that? The constant noise of life. Even at midnight, noise exists all around us. I can't escape it; you can't escape it. We can't escape it. My keyboard clunks away as I type this. There’s the sound of late-night drivers who keep on driving, the constant hum of electronics, t…

The Noise Behind Closed Doors

"One thing that has struck us all about this pandemic is just how quiet it is. You think of a disaster of this magnitude like it's some sort of action movie. But this has been largely silent. Yet, you know that people have lives in their houses (...) and there is a lot going on, a lot of i…

The 101 on Cannabis Activism | Guest Post by CannaLoneSun


Hey, coffee lovers! I am @cannalonesun and today, I am going to share information that has led me to become a cannabis activist. First things first, let me give you some background.

We each have an endocannabinoid system for our body to absorb cannabinoids. It works just like any other system in our bodies, and we have more receptors for cannabinoids than any other substance. 600 million years ago, sea squirts developed an endocannabinoid system for the adaptogenic effect which helps achieve optimum conditions in your body that are needed for optimal health (homeostasis) by going reversely in the synapsis, interrupting the uptake of neurotransmitters that make you sick. Thanks to sea squirts, all animals have an endocannabinoid system. Thank you evolution! Our human body even produces endocannabinoids naturally, the two main are anandamide and 2-AG. We also find dietary-cannabinoids in black pepper and cloves!

You may have heard of THC and CBD before - these are phytocannabinoids that come from the cannabis plant which came 25 million years ago. However, science discovered THC in 1964, but the endocannabinoid was discovered in the 1990s! Let’s not blame them, because the plant was not used in the western world until the mid-nineteenth century. However, that does not mean indigenous cultures weren't using it. In China, ganja was cultivated as early as 4000 BC, treating menstrual cramps and constipation, Africans used it for many fevers including malaria, and East Indians used it for sleep disorders, headaches, and digestion problems.


Scientific research is hugely important because it has given us more detailed information about its ailments. For instance, CBD is often praised for its medicinal benefits, and THC is seen as the psychoactive substance that gets you high. This is not entirely wrong, because CBD receptors are largely in the immune system improving its function, but THC has important benefits too! Many pharmaceutical cannabis products contain a synthetic form of THC, because THC receptors can substitute opiates, which can cause overdoses and deaths, yet weed does not. This is because the THC receptors that are located in the brain are not in critical areas that affect heartbeat and breathing but rather located in areas that affect movement, processing trauma, cognitive function, appetite, memory, stress, peripheral sensations such as pain, and nausea. THC is mainly derived from the plant’s trichomes, which are sticky white hairs on the flower of the bud. This is the plant’s protection mechanism against bugs because it is toxic to them.

‘So, why is weed illegal in so many places?’ I asked myself. The Netherlands, where I am from, is celebrated as the weed country. Yet, the Opium law makes a distinction between users, dealers, and transporters. Its recreational use is condoned by the police, which is not legality. However, according to Article 11a OW or article 140 of criminal law (SR): 

“He who prepares, cultivates, processes, sells, delivers, strengthens, transports or manufacturers or is strongly thought to commit a crime listed in article 11 will be punished to at most 3 years imprisonment or will be charged with a fine from the fifth category (€ 76.000).” 

In the United States (US), the government waged a war against all uses of the plant, placing psychoactive substances in one of five schedules. Schedule 1 substances signify no medical use and there is restricted use even with the supervision of a doctor.

Think about GHB, heroin, and cannabis. Does that sound strange to you? If it does, I highly recommend you watch the Netflix documentary: Grass is Greener. But for now, here is a summary. Essentially, the War on Drugs was against the advice of the American Medical Association because cannabis had been associated with African Americans and Mexicans. Harry Anslinger started the prohibition of ganja with the following speech:

“It is the duty of the Treasury Department to damn the harmful and malignant stream of narcotic drugs, intends to pursue relentless warfare against the despicable dope-peddling vulture who preys on the weakness of his fellow man.” 

The narrative here is that weed was used by Black men to seduce young white teenagers in Jazz clubs. In segregated America, Jazz clubs were one of the few places where whites and Blacks mixed. Many people did not know about the herb's effects, so they were easily influenced by propaganda. Anslinger related weed to murder and even movies were created to further indoctrination. The banning of cannabis significantly halted scientific research. However, Mayor Laguardia of New York City (NYC) commissioned a report which found that there was no proof of weed linking to addiction or crime. However, the federal government ignored this and chose racism. As a result, people of color make up 78% of all marijuana arrests in NYC  alone and without enough scientific evidence for its benefits, students of medicine do not learn about the endocannabinoid system. It is due to misinformation and politicization of weed that colors the taboo of cannabis benefits outside the US and even recurring internationally. 

Much love,

Lone Sun 

On Pointe: The Art of Hiplet | An Interview with Homer Bryant

I've always loved ballet, especially as a little girl. However, it was hip hop classes I ended up taking, so when I first saw a video that went viral in 2016 of a dance called Hiplet (a combination of hip hop and ballet dancing), I was blown away. For years, I watched the Youtube interviews, Instagram videos and made sure to keep myself updated with what the ballerinas are up to. Recently, I had the opportunity to interview Homer Bryant, the man who made Hiplet happen. Here's what we spoke about.

Thank you for agreeing to do this interview with us, Mr. Bryant! While many of our team members are familiar with you, could you please tell us more about who you are and what the values of the Chicago Multicultural Dance Center are about?

My name is Homer Hans Bryant founder and artistic director of the Chicago Multicultural Dance Center, and the creator of Hiplet. CMDC’s mission is to provide high quality dance training and performance in an environment that celebrates the diversity of its students and the community. 

Hiplet was previously called rap ballet and CMDC is the only studio in the world that teaches it. How did you discover Hiplet and how did you know it was something you wanted to teach?

Hiplet was born out of my rap ballet. In the 90s, I created a style where my dancers would perform the running man and other popular styles of dance, set to rap music. This was the start of the idea to fuse culturally relevant music and dance to classical ballet. In 2005, once again staying relevant, I started to play around with different hip hop moves which led me to the development and the 2009 trademark of the Hiplet techniques. Again cultural awareness and staying relevant with our youth was the stimulant for this action. I realized it would be more exciting than my rap ballet, it would instead transcend the rap ballet. Hiplet then became the conduit that would allow CMDC to rise to a whole new level. 

What was it like to teach Hiplet for the first time - were the parents of the dancers skeptical as it was a relatively new concept? Because of the history and popularity of the rap ballet, teaching Hiplet for the first time was pure joy, fun, and entertaining for the students as well as the parents. Everyone was elated.

Aside from Hip Hop and Ballet, are there other dance styles that are fused into Hiplet?

Hiplet is fused with African, West Indian, Latin, Jazz, Contemporary, and Urban Dance styles. It is a plethora of all dance forms that we see fit. 

Hiplet uses Pointe. How do you find a balance between following the rules of Pointe to ensure protection against injury while still following movements that are also a style of Hip Hop?

Hiplet ballerinas are constantly and consistently strengthening their ankles and metatarsals. We use pointe shoes in a way not previously engaged. When you know how to do what we do, you too will be empowered far beyond what you thought was possible to do on pointe. For Hiplet we pull back in our ankles for some movements and we are over in our box for others. That training only happens here. We are the descendents of a strong people. 

Due to the Coronavirus, classes had to be closed down but you’re opening up next week on 22 June! Will there be a limited number of students who attend or how does it work with regulating classes? Due to Covid-19, we have been doing classes on Zoom. We will continue to do this and we will open next week with a limited number of students, nine per class with one teacher each, with a total of 36 students. The Hiplet Ballerinas have been rehearsing on Zoom for the last ten weeks. 

For fans of Hiplet, are we still able to register for online classes via Zoom?

We have not been providing online classes for Hiplet. Due to safety being our first concern we do not teach online classes for this dance form.  Although from time to time we have done some demonstrations. 

Aside from financial contribution, are there other ways we are able to support the continuation of Hiplet due to the Coronavirus lockdown?

We have lost close to $90,000 due to Covid-19 and the cancelation of the Hiplet Ballerina and Company Tour. As we are a 501c(3), not-for-profit organization, your contribution will help train future dancers of which there are many multicultural students whose dreams are to be future Hiplet Ballerinas. Financial contribution would be strongly appreciated. You can also help by continuing to spread the word. Please see link below. 

Lastly, we noticed that many of your Hiplet dancers wear Pointe shoes which match their skin tone. The #BlackLivesMatter movement has highlighted how ballet dancers have had to cake their shoes with foundation in order to achieve a shoe colour that matches their own. Eric Underwood, a dancer for the Royal Ballet has taken to Instagram to show how he does so and after various petitions, companies like Bloch have recently diversified their shade range. Do you think it is important for Hiplet dancers to have shoes that match their skin tone (unless of course they choose to wear the traditional pink slipper)?

It is vitally important to me that the Hiplet ballerinas wear tights and shoes that match their skin tone. It represents who they are in totality. The success of Hiplet has created role models for youth where there has been a void. For people of color to see a reflection of themselves performing Hiplet with such grace, control, passion, and empowerment is a powerful reminder that ballet can be inclusive of any ethnicity, culture, shape or size. This is what Hiplet is all about! Classical ballet is Eurocentric. We are Afrocentric! 

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