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<channel>
	<title>Sal:mender magazine</title>
	<link>https://salmendermag.com</link>
	<description>Sal:mender magazine</description>
	<pubDate>Wed, 22 Oct 2025 10:15:52 +0000</pubDate>
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		<title>Landing page</title>
				
		<link>https://salmendermag.com/Landing-page</link>

		<pubDate>Wed, 22 Oct 2025 10:15:52 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

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		<description>Decolonising Our Love i.(a love letter from the diaspora)
Caroline Japal &#38;amp; Deanna Nelson-Mckie</description>
		
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		<title>About</title>
				
		<link>https://salmendermag.com/About</link>

		<pubDate>Sat, 14 Oct 2023 13:23:38 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

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		<description>Sal:menderis a philosophical exhibition-based magazine dedicated to global diasporic stories. Inspired by the salamander, a mythological creature thought to live in fire,&#38;nbsp;the name reflects our mission to nourish creativity and extinguish harm, echoing the Latin motto “Nutrisco et extinguo,” meaning “I nourish and extinguish.” We explore art as a medium for philosophical inquiry, examining questions of identity, belonging, memory, and the human condition. Sal:mender is a space where artists, thinkers, and audiences come together to reflect, question, and engage, making exhibitions more intimate, accessible, and participatory, a space for children of diverse diasporas to see themselves and converse about the ideas that shape their lives.




Each issue functions as an exhibition guided by a central research question, bringing together a multicultural community. Through these explorations, we preserve personal and collective memory while encouraging dialogue between artworks, and audience. At its core, Sal:mender is a platform for inquiry and reflection, believing that storytelling, art, and philosophy can mend the soul, and deepen our understanding of ourselves and the world around us.

︎︎
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		<title>Digital Gallery</title>
				
		<link>https://salmendermag.com/Digital-Gallery</link>

		<pubDate>Sun, 15 Oct 2023 00:50:26 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

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		<description>

Decolonising Our Love i (a letter from the diaspora)
In his book titled, Transubstantiating the Intimate: The Role of Autobiographical Elements in the Poetry of Kamau Brathwaite, the writer Cyril Vettorato talks about the Bajan poet Kamau Brathwaite; and the complexities of writing about the self. He quotes fellow writer Rosali Baena: ‘‘ [...] postcolonial and immigrant writing of the self “contribute[s] to the recognition of the self not as a unified or stable entity, but rather as fragmented, provisional, multiple, in process’’’’. These writings echo the difficulties of establishing one’s identity, and the struggles one can face while learning about this identity.


But reaffirming ourselves through culture, could be a way for us not only assemble the mosaic of our identities, but also learn to appreciate its complexity, while loving ourselves. Therefore, we might wonder, how can the reaffirmation of Black Caribbean modern identities nurture love and self-acceptance?&#38;nbsp;In other words, how can one learn to love, and accept oneself through their culture.
 

Reaffirming these Black Caribbean modern identities as a member of the diaspora, means connecting with this cultural identity, without going as far as claiming the experience of those living in the homeland. Curated through different black gazes, this exhibition is an exploration of the different elements that can constitute one’s cultural identity; and displays how they can contribute to a more self-loving journey. Through their stories, Caroline Japal and Deanna Nelson-Mckie, have targeted areas in which cultural identity serves as a foundation for self-love. 





  

 




  
    SAL:MENDER ASKS YOU!
  
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	<item>
		<title>Decolonising our love i.</title>
				
		<link>https://salmendermag.com/Decolonising-our-love-i</link>

		<pubDate>Sun, 15 Oct 2023 00:14:00 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

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		<description>
Decolonising Our Love i. 
(a love letter from the diaspora)

Sal:mender asks: How can the reaffirmation of Black Caribbean modern identities nurture love and self-acceptance?


 

Sal:mender magazine does not own any rights to any of the footages or audio. 
All rights go to the respective owners. This video is for entertainment purposes only.</description>
		
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	<item>
		<title>Caroline Japal</title>
				
		<link>https://salmendermag.com/Caroline-Japal</link>

		<pubDate>Sat, 14 Oct 2023 13:23:39 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

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		<description>


In conversation with: Caroline Japal.

   

AKIN (2023)
Caroline JapalH: 210mm x W: 160mm x D: 70mmDark blue hardcover book, with handmade paper, binded with yellow threads, and a spine decorated with wooden hair beads, amethyst &#38;amp; jade crystals, pearls, cowrie shells, and golden accessories.&#38;nbsp;

CAROLINE’S MEMORIES
Born in Birmingham, Alabama (U.S.A.) in 1996, Caroline Japal is a visual artist, photographer, and creative director. With an intense interest of her own Black southern American roots, she creates work that explores the connections between identity and place by combining moving and still image, print, and object making. In her practice she uses archival research, first-hand accounts, and personal artifacts to create work that aims to explore the interconnectedness of Black artists today and the ties to their own personal histories.


Through confronting the realities of loss and grief, AKIN was created as a vessel to carry the history that had died with many ancestors before her. She describes this project as a “reconnection journey” that brings her back to her roots through learning and listening to the stories of those that come before her.


“As a Black American, our history was systematically erased. Our ancestors were ripped from our families and homes, our land, our culture, and languages. Since 1619, when the first ship carrying enslaved peoples of Africa landed on the shores of Virginia, and for the next 350 years my ancestors would be forced to find ways to pass down their own history, culture, and belief systems as best they could and be responsible for preserving what little they were able to hold onto about their homeland. 
AKIN is not just a journal documenting my personal journey of the discovery of who I am and where my people come from, but it is a love letter to the many Black people who came before me and fought like hell to persevere, so I can be here today to live my life as freely as the systems I’m subjected to live within will let me.”



Desktop: Hover on images to listen / Mobile &#38;amp; Tablet: Click on images to listen
. Images courtesey of Caroline Japal.&#38;nbsp;

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	<item>
		<title>Deanna Nelson-Mckie</title>
				
		<link>https://salmendermag.com/Deanna-Nelson-Mckie</link>

		<pubDate>Sat, 14 Oct 2023 13:23:38 +0000</pubDate>

		<dc:creator>Sal:mender magazine</dc:creator>

		<guid isPermaLink="true">https://salmendermag.com/Deanna-Nelson-Mckie</guid>

		<description>
In conversation with: Deanna Nelson-Mckie.

  
 

Celt Vessel-Bag (2023)
Deanna Nelson-Mckie
H: 46cm x W: 25cm x L: 10cm&#38;nbsp;
Printed olive nubuck leather vessel, with printed leather front layer and top stitched veg tan handle, with ability to attach &#38;amp; 
detach from a bag to a vessel, with Sam Brown screws.&#38;nbsp;


DEANNA’S ARCHIVES

Deanna’s practice is based on research, materiality and design. Her exploration of her Jamaican heritage, and her documentation of black Caribbean, and African identities makes room for her to cultivate stories, that connect past and present. Deanna’s designs and artefacts translate historical narratives, ancient past, and communicates different visions of blackness.

Desktop: Hover on images to listen / Mobile &#38;amp; Tablet: Click on images to listen.


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&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2de736925cdca2869d06788b21e0c1a819bb19441e19e4f8cdc2ee81795ad89c/__deanna_naomi_1503934051_1591436626649914591_274097371.jpg" data-mid="196141626" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/2de736925cdca2869d06788b21e0c1a819bb19441e19e4f8cdc2ee81795ad89c/__deanna_naomi_1503934051_1591436626649914591_274097371.jpg" /&#62;
&#60;img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/d89dbd26608a9a7312b33156574121bdcc96ee75a75d9beeee75e37b60f86c18/Esi-Sagay---African-Hairstyles---Heinemann-1985-Hairstyles-1671295780_900x.jpeg" data-mid="196141641" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/900/i/d89dbd26608a9a7312b33156574121bdcc96ee75a75d9beeee75e37b60f86c18/Esi-Sagay---African-Hairstyles---Heinemann-1985-Hairstyles-1671295780_900x.jpeg" /&#62;



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&#60;img width="2422" height="2986" width_o="2422" height_o="2986" data-src="https://freight.cargo.site/t/original/i/8479bd10b5ea8bd6961bdccaea29b531153889dae5ecf8c19756f9c6ba9bdbd7/Hands-Up.jpeg" data-mid="196050739" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/8479bd10b5ea8bd6961bdccaea29b531153889dae5ecf8c19756f9c6ba9bdbd7/Hands-Up.jpeg" /&#62;
(Right) Noel W. Anderson, Hands-Up, 2016. Four stretched Jacquard tapestries. Hunter Museum of American Art.&#38;nbsp; var audio1 = document.getElementById("audio1");
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Beverly Buchanan,&#38;nbsp;Untitled (Double Portrait of Artist with Frustula Sculpture). Black-and-white photograph with original paint marks. Brooklyn Musem.&#38;nbsp;
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 &#60;img id="img5" src="https://freight.cargo.site/t/original/i/29ac296f50e74346ec4a5775d5ac770e648fa18a42cc8b3685f4c9c378ac3a2e/deanna-nelson-mckie-5.jpg"&#62;
&#38;nbsp;


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&#60;img id="img6" src="https://freight.cargo.site/t/original/i/f3bf58d20929e42910033bb4cacf672dae15772f12e28ff4ac37aa186dd8fe41/__deanna_naomi_1657655721_2880947459318077826_274097371.jpg"&#62;Image courtesy of Deanna Nelson-Mckie. Traces of Past &#38;amp; Present Caribbean. Research behing the influence of the Celt Vessel-Bag (2023).

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&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/38326554a6e35e558732f48e6b7bf17d1aef52dbc415167054328bf3f662945a/jamaican-fish-pot.png" data-mid="196075764" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/38326554a6e35e558732f48e6b7bf17d1aef52dbc415167054328bf3f662945a/jamaican-fish-pot.png" /&#62;

(Left) Taino bird figure made of wood. Claimed to be from Dominican Republic (Ostapkowicz et al. 2013) - sourced from British Museum Collections.&#38;nbsp;(Middle)&#38;nbsp; Fishpot from Jamaican Gleaner article Objects from our Past. (Right) Celt image from Origins of the Tainan Culture West Indies by Sven Lovén.




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 &#60;img id="img8" src="https://freight.cargo.site/t/original/i/a30226d32b1bc58fea4ec7a3b0cdad2abe142a5118ccd629805c5cf604fad917/jeano-edwards-familiar-strangers.png"&#62;

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 Jeano Edwards,&#38;nbsp;Familiar Strangers (film). “We have to inherit everything here . All the joy and the fun, and the happiest moments here. Because one day&#38;nbsp; our eyes will close.”


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Poster design by Sal:mender magazine.&#38;nbsp;Half-figure with canopy,&#38;nbsp;designed with a Jamaican stamp from 1978 (artist unknown), representing an Arawak artefact found in 1792.


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Poster design by Sal:mender magazine. Standing figure (left), Birdman (right), designed with a Jamaican stamp from 1978 (artist unknown), representing an Arawak artefact found in 1792.
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