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Allawe is One Family Vol.1|1

by Robert Lewis

The Caribbean has always been seen as a tourist destination, where piña coladas and beaches are the main attraction. Not only does the Caribbean attract the all-inclusive resort crowd, but every year people travel to participate in many of the carnivals that take place throughout the islands. The music, color, costumes and textures are deeply rooted in island culture, but are merely a fraction of the creative expression that exists in the Caribbean. Throughout the islands, there is prolific activity within the arts: world-class music, exhibitions, photography, performing arts, and literature. Furthermore, the Caribbean Diaspora has provided a wealth of talent and success in the creative arts beyond the islands’ shores.

It became evident to me that all of this creativity needed a forum. The Caribbean is a place that inspires innovation, but it seems that there are not many publications that boast an interesting sense of design and use of typography, which is where Allawe comes in.

This journey of mine first started in my undergraduate years at the University of Maryland at College Park. Like many young graphic designers, I searched for inspiration by absorbing as much art and design as I could. My technical abilities developed through classes and internships, and I was inspired by contemporary designers to create beautiful artwork. But something was missing—I did not find inspiration that reflected my Afro-Caribbean culture. I longed for a community that would honor my Caribbean roots and guide me in developing an aesthetic that integrated my culture.

An opportunity arose to unite the Caribbean in a way that had not yet been considered: creatively. The Caribbean islands launched an initiative, like the European Union, that allowed free trade between member islands. Furthermore, this alliance encouraged initiatives that promoted a unified vision of the Caribbean. It was the perfect time to create a cultural magazine that would reach both the Caribbean Diaspora and Caribbean citizens and residents, as well as introduce and highlight an already thriving industry to the rest of the world.

The Caribbean harbors a cultural tolerance that has yet been replicated in my experience. Made up of both descendants of indigenous people (Caribs and Arawaks), and settlers from Europe, Africa, and Asia, The Caribbean is a true cultural melting pot. From a very young age I developed an interest and appreciation for people of differing backgrounds and I am now able use my design skills to create a magazine that celebrates and shares the cultural diversity to which I had grown accustomed to over the years.

My goal with Allawe is two-fold: first, to showcase the Caribbean creativity that already exists; and second, to inspire new creativity. It is my belief that the world needs to witness all of the amazing visual, literary, and performing arts that take place within the Caribbean. Consequently, the momentum might inspire new artists to get involved. The aim is to push the level of Caribbean creativity to reach new heights.

The most effective leadership style is to lead by example. Allawe is my creative work of art that showcases other artists’ works. By using classic aesthetics and presenting them in a more contemporary and considered way, I hope to inspire young designers to follow suit. The challenge in doing this is to accurately and authentically represent the culture, yet deviate enough to spark discussion and curiosity in the look and feel of the magazine.

Allawe is multi-dimensional in that it appeals to two very different sets of people. First, the magazine appeals to people in the creative arts. The design is aesthetically interesting enough that even without the content, the fine arts community can take interest. Second, it appeals to people interested in the Caribbean subject matter (members of the Caribbean, Caribbean Diaspora, or non-Caribbeans enamored with the land and culture). In this way, those that know nothing of design or fine art can also find the magazine appealing and worthwhile.

Allawe will also use the powerful resource of the internet to involve readers and creative artists. Users will be able to read magazine content online and interact with Allawe staff through allaweblog. This will be used as an interface to discuss articles as well as be a sounding board for creative artists and Allawe readers.

There are a lot of misconceptions about people from the islands like the stereotype of the dreadlocked Rastaman listening to Bob Marley and smoking marijuana on the beach. My aim is to dispel the stereotypes by presenting a different side of the culture—one rich with constructive and creative people creating bountiful and innovative work.

This project has been an intense learning experience, both in magazine design and production, as well as in deepening my knowledge of my culture. I have realized that around the world, people from the Caribbean are usually mistaken for people from other nationalities and ethnicities. Allawe illustrates that the culture is its own, rich, stand-alone entity. This isn’t to say the unique qualities of each island are not taken into account; in fact, it is the complexities of each island that make the Caribbean so interesting. To clarify, this isn’t a project to turn the Caribbean into the lowest common denominator; however, it is a project to celebrate pan-Caribbean unity and creativity. The magazine will challenge people’s views of what it is to be West Indian. Caribbean citizens and residents, as well as members of the Diaspora, can take pride in their culture and traditions. I am excited to move forward and present you with Allawe’s debut issue.

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