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Champa Bike makes adventure accessible for those with mobility issues

Alejandro Piccione
Interview Subject
Alejandro Piccione is the creator of the Champa Bike and has been director of the Accessible Tourism Network of Argentina for 12 years.
Background Information
The Champa Bike is the first Argentinean-designed hiking apparatus in the world adapted so that people with reduced mobility can do vigorous hiking activities, including crossing bodies of water.

In 2019, tourism was a $5.65 billion industry for Argentina, drawing roughly 7 million tourists. It represents 1.5% of the country’s gross domestic product.

CÓRDOBA, Argentina – I’ve been dedicated to inclusive tourism for 15 years. I opened a cabin complex nestled in the mountains; they were the first in the country to be 100% accessible, but people with reduced mobility could not get there. The ridiculous irony of the situation struck me, and I knew I needed to find a solution. 

Surrounded by beauty, unable to enjoy it

Alejandro López, a friend and colleague in the accessible tourism industry, told me about the hardships that his brother, who has cerebral palsy, had to endure to enjoy nature. It was impossible for him to hike in his wheelchair. The gravel caused the wheels to lock and lose stability. He missed out on enjoying thousands of landscapes and was relegated to only seeing them in photos.

This was one of the cases that most caught my attention and caused me to want to find a solution to this issue. I couldn’t get over how unfair it would be to live in a province with such a gorgeous views and not be able to experience them. That is the reality for that man, and thousands of others.

When I decided to build my cabin complex, I focused my attention on making them comfortable for everyone, no matter the disability, to move around comfortably. However, as the months went by, not as many people came as I expected.

The answer was very simple: they couldn’t physically make it to the cabins due to their condition.

Persevering through a difficult process

At the beginning, we relied on the Joëlette, a unicycle made solely in France.

With that as our reference, we worked to create something more suitable to our local needs. First, we made an amphibious chair that could cross the rivers in our area, then transformed it into something also suitable for hiking. We tested it with people who needed it, observing what worked and what needed to improve.

We focused on user safety and comfort in our design. In Argentina, we value vigorous movement and adventure. Thus, we added a roll bar that protects the user’s head.

I faced a significant problem in the restrictions of Argentina’s economy. The value of the dollar was not entirely clear as we worked, since it increased and fluctuated with the passing of the hours and days. This meant that my suppliers of the parts necessary to make the prototype did not know how much to sell them for at a local price. This resulted in many frustrating delays.  

The lack of certainty in the country led me to try other alternatives. Using local parts forced me to rearrange the entire chair from scratch. At the time, my credit cards were collapsing and my finances were on edge. Stress and anxiety that I was wasting my time on an impossible project played in my mind.

But as the days went by, we got closer and closer realizing my dream regardless, and eventually the finished product was just as I had dreamed it. Eventually, we developed the Champa Bike as we know it now.

The Champa Bike is Born

The Champa Bike is like a cart with an armchair in the middle, with upholstery that can stand up to the elements, folding armrests and adjustable footrests.

It features a wheel with a reinforced rim and hydraulic suspension, which changes position according to the needs of the road. The side handlebars extend both in front and behind, to be guided and supported by two people.

We named the chair in honor of the Champaquí peak, which reaches 2,790 meters (9,153 feet) above sea level and is the highest in the province of Córdoba. It is one of the region’s most important tourist spots since from there, you can see the city completely and admire incredible vistas.

Dreams made reality for those with mobility issues

Today, we use the Champa Bike on excursions with the elderly, those who are in late stages of pregnancy and, of course, those with physical disabilities. Rescuers have even occasionally used it in their endeavors.

Many stories have moved me since we began using the Champa, but none like that of a boy with reduced mobility who summoned 15 friends to help him climb the Champaquí. They all took turns supporting the bike while the tour organizer led them up the summit, achieving the boy’s dream.

That made the hours of testing, working and insomnia as we perfected the bike all worth it.

Argentinean tattooist transforms scars and burns into works of art

Diego Staropoli
Interview Subject
Diego Starópoli, 49, has been tattooing since he was 21 years old and is the founder of Mandinga Tattoo, located in Buenos Ares, Argentina, as well as the tattoo convention Tattoo Show.

While he became famous for being the tattoo artist of celebrities, he maintains a focus on the social aspect of his business. He offers healing tattoos for free to women who have suffered mastectomies or gender-based violence, and to burn survivors.

He also created the Fundación Mandinga where he promotes breast cancer prevention and sponsors 13 rural schools from different parts of the country.

Follow Mandinga Tattoo on Instagram, Facebook and Youtube.
Background Information
According to the Journal of Cancer Education, the most common cancer among women in Latin America is breast cancer. Argentina has the second-highest breast cancer mortality rate in South America, accounting for approximately 6,380 deaths per year.

BUENOS AIRES, Argentina—My love for tattoos and the loss of my mother, aunt and grandmother to breast cancer has led me to transform the lives of thousands by providing healing tattoos. I tattoo for free the scars of women who had operations to treat breast cancer. With the artwork replacing the scarred areola, the memory of the cancer does not seem so painful.

I also tattoo survivors of burns and gender-based violence for no cost. It started by chance several years ago when a person came to my tattoo studio, Mandinga Tattoo, with a large part of her body burned. I tattooed her, and it was incredible—that tattoo changed her life, and it went viral online as well.

Nurturing my early passion for tattooing

In the 1980s and 90s, tattoos were far less common than they are now, and society often stigmatized those who had them. However, at the age of 18, I decided to get one.

A friend took me to the bathroom of a large market. There, a tattoo artist welcomed me with sewing needles and Chinese ink. I only had enough money to get a small rose. Two years later, with the most basic of tools, I started tattooing myself. My passion became my job and a source of income to help my family.

While my dad hated the idea of ​​me tattooing, my mom would sneakily buy melons for me to practice. Without realizing it, the whole neighborhood wore my drawings on their skin. Plenty of times, I didn’t even have money to eat, but I knew I was fighting for something bigger: to open my own studio.

I invested everything I had in order to hold the first tattoo artists fair in Argentina. If it didn’t work, I would end with nothing. Luckily, such was the success that I opened my first tattoo shop in 1993. My studio is now one of the most well known in the country.

Changing lives with healing tattoos

When I learned how to tattoo scars in 2008, I posted on Facebook and said that I would do it for free to any woman who has undergone a mastectomy. I thought there would be some interest, but I never imagined the number of messages that began to rain in. To be exact, it had a million comments in less than 24 hours. I was stunned.

I still remember the first mastectomy client who approached me. Her name was Lidia, and she was about 70 years old. She suffered deeply as a result of her experience; she could neither touch herself nor look at herself in the mirror because of the anguish she felt about her scarring.

I never told her she was my first “healing tattoo.” I kept talking to her, maybe because my nerves were just as rattled as hers. When I finished, she looked in the mirror, hugged me, and said, “I love you.” I sighed in relief; it was all worth it. That was the first of 1,700 and counting. As the cases increased, we began to include women with scars from gender violence and burns as well.

There are women who come because they had domestic accidents when they were very young, and they grew up with bullying all their lives because of their appearance. Others were locked in a room by the husband and set on fire. There are many stories, many of which include mistreatment, segregation from part of society and shame.

I personally choose who to tattoo for free among the many who ask. I prioritize stories that impact me and people who can’t afford their tattoos. Today, there is a waiting list of hundreds of people.

When a tattoo is more than a tattoo

The tattoos are more than just aesthetic pieces, and I try to infuse each with something more than just artistic quality. A tattoo is something that has a lot of energy: whether the energy is good or bad, they will carry that with them forever. I empathize with each client, and try to make them feel good during the process.

Each of these tattoos takes months of work; the process is complicated and expensive because burned and scarred skin is challenging to work with compared to skin that is untouched. Due to the number of hours shared together, I establish a bond with these special clients.

The reactions to the finished tattoos vary as much as the stories behind each scar and burn. Some, when I reveal the artwork, show little emotion, while others hug me and start crying. The only thing that doesn’t change is my own emotion. With each tattoo, I revisit what I experienced with my own family. Their memory still accompanies me; they are the ones who inspired this initiative that changes the lives of so many people.

Everything that my family and I have, I owe to the tattoo. I consider myself in debt to this art, and that’s why I tattoo in this way.

Taking healing tattoos on the road

In the last week of 2021, my family and I began a journey in an RV with the intent of traveling the Americas from end to end, crossing 15 countries total. The project was born during COVID-19 quarantine as a family trip, but then it occurred to me to bring healing tattoos along for the ride.

We started in Ushuaia, the southernmost city in the world, and hope to end in Alaska in early 2023. Embassies in each country have connected me with women’s organizations, and with their assistance and connections I intend to tattoo between 20 and 30 healing tattoos per city. In each destination, we want to leave ambassadors: tattoo artists who want to continue providing these tattoos at no cost to those who need it.

In addition, we plan to record a reality show of sorts telling the stories of those we meet.

My future is full of projects. One is followed by another, like a waterfall. Changing people’s lives changes my life, and I am forever grateful.

Chilean students create eco filter for ‘gray water’ treatment

Interview Subject
Francisca Cortez is a student at the Liceo América de Los Andes, in the Valparaíso region of Chile. She was a member of the winning team of the 2020 Los Creadores Digital Talent Award.
Background Information
The Los Creadores Digital Talent Award, organized by Fundación Kodea, works to foster innovation by challenging Chilean students to develop digital skills that will help face the face the challenges of the 21st century.

The 2020 winning project was an “Eco Filter,” created via 3D-printer, which treats gray water (a type of waste water from sources such as washing utensils and clothes). This treatment allows non-potable water to be reused for domestic use.

Liceo América de Los Andes middle school students Francisca Cortez, Sebastián Arias, Joaquín Soto, and Belén Pizarro formed the winning team, guided by teacher Marcela Otárola.

LOS ANDES, Chile—My name is Francisca, and I am from Chile. I never imagined that participating in a school project would change the lives of so many people. I took part and helped invent a water filter without realizing the impact it could have.

Hearing about the contest

One morning at school in 2020, there was a rumor in the hallways that the Los Creadores Digital Talent Award would take place for the fourth year in a row. Until then, I had not learned about the subject and did not have enough information about what the contest entailed. In addition, I was not pleased to think about words like award, talent, and scholar; I do not like to compete under any circumstance.

Anyways, I will not deny that it seemed interesting despite that. I looked forward to recess every day and there, consulted with one of my classmates about the award. He explained that it was not a competition designed for a cynical purpose, but rather one where contestants could showcase their talents and connect technology and capabilities.

Upon hearing this distinction, I was fascinated and knew I wanted to participate. I ran and went to find friends who I thought would be perfect to accompany me on this project. One idea after another began to flash inside my brain.

Gathering friends and finding inspiration

I told my friends how excited I was about this opportunity and that I wanted to do it together. We are young, and have the imagination and the ability to create absolutely whatever we want, I exclaimed.

Not even two seconds went by before all three of them said they were in, as well. Right then, we projected our vision. Our goal was to find a problem that we currently had, not only locally but also globally.

I had so many ideas at once that none were clear to me. I needed to wash my face and calm my head.

When I went to the bathroom, I turned the tap on, and the water that came out was light brown, almost a gray color; I felt disgusted to wash my face with it. I thought: “If it disgusts me to wash my face with this dirty and contaminated water, what must a person who has no other choice but to use this water to survive every day feel?”

Formulating our winning eco filter idea

I immediately knew this was the project we had to present. We needed to create and implement a solution for people who use “gray water” for domestic purposes.

Together, we decided the best solution was a filter. Trying to make it an economical solution, we worked and reworked our idea until we had a filter that is easy to assemble and use thanks to 3D printers, and not only that—they are also reusable.

I feel satisfied and so happy to be improving people’s lives with our winning idea, contributing my grain of sand. It was a challenge for my teammates and me, but we are proud of the result.

Netflix’s Baking Impossible winner discusses behind-the-scenes reality

Sara Schonour
Interview Subject
Sara Schonour is a lighting designer and engineer who lives and works in Boston, Massachusetts. She is currently Vice President of Education and Engagement at Lytei and previously worked in a leadership role at Cannon Design for more than 15 years.

Sara and her “bakineering” partner, New York City-based baker Rodolfo Goncalves, recently won the top prize of $100,000 on Netflix’s “Baking Impossible.”
Background Information
Baking Impossible debuted on Netflix in October 2021. Contestants compete in pairs; each duo consists of a baker and an engineer who have never met before.

The teams faced off in a total of eight challenges that combine baking and engineering. After the teams complete a stress test of their creations and receive feedback on both the taste and design from the panel of judges, one losing pair is voted off at the end of episode.

LOS ANGELES, California—It all started with one question: why not?

In March 2020, the COVID-19 pandemic had just shuttered the world for the first time, leaving in its wake uncertainty, isolation and a screeching halt to the normal way of life. As I scrolled my email a few days into the shutdown, my eyes found a casting call for a new Netflix show, Baking Impossible.

My first reaction was to wonder how it got through my spam filters, because how could this be legitimate? At the time I worked as a lighting designer, a profession that doesn’t scream out for a reality TV treatment. But—with the pandemic looming and no end date in sight—I decided to answer the email.

Five months later, I left my home in Boston and boarded a plane to California to begin shooting.

Challenges of filming during COVID-19

Because of the pandemic, my nearly eight weeks in California was hardly an extended vacation.

The producers required all participants to take COVID tests and isolate in our individual hotel rooms before we could begin any in-person filming. Tedious days and nights dragged on as I waited for confirmation of my negative result.

While isolated, we all could complete an online tutorial regarding some of the filming practices and process. Some fellow engineering competitors logged in by name, and I foolishly searched them to see who I was up against.

As I Googled, I sat up in my hotel room bed, scrolling through all these incredible achievements of the people I’d be facing in just a few short days with $100,000 at stake. Waves of nervousness and panic rolled over me—what was I thinking? There was no backing out now, though.

From then on, we were COVID tested every other day to ensure the safety of the cast and crew.

Vans transported my fellow competitors and I from hotel to set, then set to hotel—nowhere else. Though we did have some occasional downtime, we couldn’t socialize: go out and go shopping, visit a museum, grab dinner with friends in the area.

It was a truly unique social situation—our only companions were our partner and our competitors. We would have bonded anyways through this shared experience, but I think the COVID bubble helped us get even closer, faster. You truly couldn’t get away from the show for as long as you were still in the running. For us final four contestants, that time stretched from August to late October.

The Baking Impossible experience

Each challenge stretched anywhere from 9 to 18 hours (the longer ones were filmed over two days), and we spent other days filming the testing of our creations, judging panels, and hours of one-on-one interviews. That doesn’t count the time spent traveling to set, undergoing COVID testing, and getting mic-ed up and in our aprons. Five or six days each week, we were on set from 7 a.m. to 10 or 11 p.m.

Awe and a good dose of nerves washed over me the first moment I walked onto the set. I shook it off quickly to focus on the task ahead.

Normally I hate when someone watches me work, but I had to overcome that feeling very quickly. Dozens of cameras fill the space, from large units with teams of people operating them to a tiny GoPro unit hidden in the utensil jar. Any number of them could be pointing at me at any moment.

The atmosphere was always chaos incarnate. A center gallery separates two rows of baking stations, with a pantry along one outside wall and the woodshop along the other. I and my fellow engineers had to run—literally run—to the shop anytime we needed a power tool or large piece of equipment. We couldn’t cut through the center gallery because that’s where all the cameras are, so we went around the end of the stations every time.

We were all in constant motion—every second counts, after all. In a competitive situation, I push it all the way to the limit. If we have an extra two minutes, we’re using them. If I had to get glitter, I ran to get it.

Though Schonour’s expertise is engineering, she said her partner Rodolfo understood that she is a designer, as well, and was open to collaborating on the artistic side of their creations such as color and decoration | Photo courtesy of Netflix

Overcoming physical and mental hurdles

Once that clock starts, the adrenaline begins pumping. Though the days stretch on into nights, at a certain point I get into the flow of the challenge set out in front of me and lose track of everything else—the time remaining, the cameras, the nerves.

But in other moments, the exhaustion catches up with me. We have a few minutes to break for lunch, and my feet scream from the sheer physicality of running around the studio for hours.

Between the stress, steps, and irregular meals, I lost 30 pounds over the course of filming.

Other times, the mental hurdles were the most daunting.

On episode 2, “Off to the Robot Races,” we had to program a robot to navigate an obstacle course. When the judges revealed the challenge, I got an icy, gnawing pit in my stomach. I hadn’t coded since college, and even that was just one class. “This is what dread feels like,” I thought. “This is like my worst nightmare coming true.”

Putting aside my normal thought process also challenged me. Engineering is so iterative—it’s not making decisions on the fly and hoping it works out. Normally you test, adjust, test again, adjust once more. On Baking Impossible, I had to do the exact opposite because of the time demand. There’s no chance to test and retool—we were forced to pick our best first idea and go with it.

An accidental queer STEM role model

I’m thankful to be part of such a diverse cast. Baking Impossible featured such an interesting mix of people in terms of race, age, career, gender, and sexual orientation.

I didn’t think about what my own presence on the show would mean, but it’s come up since. People have reached out, especially from other countries—Brazil, Singapore, Thailand—calling me an example and telling me that it’s awesome to see women engineers and queer women engineers.

I couldn’t believe it at first, but if there are young girls seeing me and thinking hey, I can do that: I’m proud to be part of that.

Meet Pat Boy, rapper using music to rescue the Mayan language

Pat Boy
Interview Subject
Pat Boy (Jesús Cristóbal Pat Chablé), 29, is a rapper who sings in the Mayan language. He has released six albums, the first in 2009. A pioneer in this genre, he uses his music to promote and celebrate the culture of the indigenous people of the Mexican state of Quintana Roo and the entire Yucatan peninsula in southeastern Mexico.

He originally hails from a town called José María Pino Suárez in Quintana Roo, and now works out of Felipe Carrillo Puerto, a city about 20 minutes from his hometown.

Pat Boy is a fellow of Found Sound Mexico and in 2014, seeing young people abandoning their artist endeavors because of lack of support, founded ADN Maya, a production house that works with local musicians and artists to develop their projects and talents.

Follow him on Youtube, Instagram, and Spotify.
Background Information
The ancient Maya culture was a Mesoamerican civilization that developed mainly in Mexico (in the current-day states of Yucatán, Campeche, Quintana Roo, Chiapas, and Tabasco), Guatemala, Belize, and the western part of Honduras and El Salvador.

Its origins date back to 2000 BC. After the beginning of the Spanish conquest of the Mesoamerican empires in 1521, many Mayan communities became isolated from one another but maintained their traditions despite widespread extermination.

Today, the Mayan language family consists of 32 languages, though at least two are considered dead. There are currently around 7 million Mayan speakers; the language Yucatec, found mostly in Yucatán, Quintana Roo and Campeche, has around 800,000 speakers. 

FELIPE CARRILLO PUERTO, Mexico—Rhyming and rapping in the Mayan language have been my profession for more than ten years. History books say we disappeared or that we live isolated from the world. With my lyrics and my music, I try to show that the Maya people not only still exist but thrive.

A rough start to a successful music career

It all started in 2005 when I was in high school. In the afternoons, my brother and I would get together with friends to experiment with rap music.

We used to make rhymes in Spanish, trying to imitate American artists like Snoop Dog, Fifty Cent, or Sean Paul.

However, audiences did not respond well when we eventually made our way to the stage. Our lyrics revolved around our lives: the experiences of youth in the streets and with friends. But some people did not like that, and they attacked us and criticized us.

Bars and events would schedule us at 1 or 2 a.m., meaning there were usually a lot of drunk people watching. The attacks got stronger—people threw bottles at us and sometimes physically assaulted us. 

I wasn’t interested in that environment, so I decided to experiment with Mayan rap and did it for a contest. It went so well—people applauded and congratulated me and sang the lyrics of my songs.

I was surprised and delighted by the public’s acceptance. I also discovered that I felt more secure and confident singing in Mayan—I found I easier to flow on stage. When I realized I could use my rap to promote my native language among the youth, my new passion took root.  

Making this decision felt so good. It was the boost I needed to know that I could do new things and make a difference by distinguishing myself from the crowd.

Things were still difficult at first. I had to knock on many doors on local radio stations, schools, universities, and community parties asking to sing. People did not yet know that Mayan rap existed, and this made them even more hesitant to let me participate.

Embracing and celebrating our Maya identity

What finally worked was convincing the organizers of the festivals and concerts that by singing in Mayan, we sought to strengthen this language and its culture and thus motivate the youth to feel proud of their heritage. It is a goal I continue to pursue to this day. 

I come from a family that speaks only Mayan. My mom and dad are monolingual, and I learned Spanish at the age of 7 when I entered school.

Since I started doing Mayan rap, I began to investigate where I come from—my roots—and what this represents.

In school books, they do not talk about Mayas except for the Spanish conquest; they never discuss our origin and the continued permanence of this culture. I thank music for allowing me to truly know what my ancestors accomplished. 

Through my work, I strive to help the world see who we Mayas are, where we come from and what we do.

Hence, my lyrics talk about people, experiences, customs, and current traditions. In the music videos, we show the communities. We feature landscapes, food, houses, the men and women who inhabit them, current Mayas in their daily lives.

Discrimination against Mayas still flourishes in some places. I believe that by generating pride in our origins, we can help combat bullying in schools of children with Mayan surnames. I also hope to encourage other young people who are proud of their roots and want to make music that reinforce their identity. 

It is not only Chichén Itzá, Tulúm, Cancún or the other tourist or archaeological centers that are important and worth preserving. My grandparents were Mayas and they did not know that these places existed; however, they kept alive the language and the traditions that create our identity.

The new Maya generations

Society has demanded that little by little, we set aside our Maya customs over the years. In this way, they force us to become more urban, more homogenous, to adopt other traditions.

Many families have migrated to other cities and countries and no longer want their children to have a relationship with the Maya culture. To combat this, I also lead workshops for children where I teach them the Mayan language through rap and hip hop.

I started doing this in a Yucatán community; I now also teach these workshops in Los Angeles, California, for the children of the Mayas who live in the United States.

Many children who were born outside of Mexico are very interested in learning about their origins and culture. The funny thing is that some children no longer speak Spanish, only English, and now they want to learn Mayan, which is the language their parents and all their ancestors grew up with.

They get excited and say they want to get to know those towns or go visit their grandparents who live in the Yucatán Peninsula.

This pride fills me with pride and happiness in turn. That what I want to promote among the Mayas. I want them to feel the same as I do when I return to my hometown: the happiness, safety and acceptance that comes from arriving at my house, visiting my mother, enjoying the food. I want Maya culture to feel like a homecoming to those who have been away. 

I stay based in my home country for this reason. I love Mexico and my people, and my work to rescue the Maya culture is just beginning. 

Wheelchair tango offers release, expression for Argentinian dancer

Aiza Di Salvo
Interview Subject
Aiza Di Salvo, 34, is a tango dancer with Grupo Alma Danza Intergradora. Follow her on Instagram and Youtube.
Background Information
Grupo Alma Danza Intergradora is the first integrative dance company of Argentina.

Founded in 1996 by Susana González Gonz, the organization “integrates dancers with and without disabilities into the scene, from the conviction that every human being, whatever his condition, can spread their wings and make their dreams fly, offering society the contribution of their artistic pursuits.”

BUENOS ARES, Argentina—My name is Aixa Di Salvo, and I am 34 years old. I’ve used a wheelchair since I was in a car accident at the age of 12 and lost the capacity to walk. However, that did not stop me from fulfilling my dream of being a tango dancer.

Tango infuses my childhood memories

When I was born, art flourished in every corner of my home. My father committed his time and energy to our heritage and folklore; he met up with other musicians to sing, play the guitar, laugh, and enjoy the culture. When I remember my childhood home, I hear my grandparents whistling a tango in the kitchen. Sometimes, they sang it while listening to it on the radio. The music constantly permeated the air.

At that time, I did not pay much attention. It wasn’t until my adolescence that tango began to take on another meaning; something about the music invited me to express my emotions through dance. I remember staying up till the early hours of the morning, listening with headphones on to not disturb the others.

The first time I appeared on stage to dance the tango in my wheelchair, it was like a dream. It was pure emotion; I reconnected with that girl I used to be, who dreamed of being a dancer. That day, I confirmed in my soul that dancing was the best decision of my life.

Today, as a woman, I still hold that first experience close. I remember that first feeling of flying that dancing generated in me, and the emotions of my parents and my grandmother, who came to see me and unconditionally supported me from the beginning.

My wheelchair represents freedom, but limits remain

I have been a wheelchair user for 21 years. I don’t see it as an obstacle, quite the contrary—the chair represents great possibility, both in everyday life and in dancing.

My wheelchair enriches my dancing. It has an imposing presence that generates endless questions, emotions, and sensations in the viewer. Being a wheelchair user gives my dancing additional impact that allows me to communicate a message to society, which has a meaning beyond my desire to dance. It has to do with the understanding of bodies.

There have always been stereotypes of what kind of body can get on stage and dance. Thankfully, for some time now, the world of dance is opening up and showcasing different, more diverse bodies. This communicates that we can all dance and we can all train as artists if that is our desire.

It is also true that the conditions must be in place for that to happen. In my case, the obstacles had more to do with the lack of accessibility, because not all stages, training spaces and dressing rooms are inclusive for artists with functional diversity.

In one case, people made excuses, saying a particular rehearsal room was off limits for people in wheelchairs because the floor could get damaged. To that I say, in my 21 years of rolling, I have never damaged the flooring of my house.

Bathrooms can present another obstacle. Generally, in the bathrooms of cultural centers or theaters, designers assume that a person with a disability is going to see a show, but not to be part of it. Therefore, there are often no accessible washrooms backstage where the dressing rooms are.

Growing as a person and a tango dancer

Tango has helped my life blossom. It means much more than mastering a dance.

I was always shy growing up; I didn’t speak often, had few friends and felt uncomfortable in a group, preferring to be behind the scenes. However, I’ve always felt that there are things within myself, just waiting to be released.

Tango has been crucial in that journey of self-expression, not only artistically but also for my entire being. It has transformed my attitude toward life and helped me embrace a louder version of myself.

Some people still think that someone in a wheelchair could not possibly dance. Most are amazed watching us, and that is why exposure is crucial. Despite the stereotypes of the type of person who can be a performance artist, dance and other performance arts hold infinite possibilities.

For example, limitations are obvious within my body—I can’t walk. However, I can move a leg with the help of other parts of my body. When I dance, my whole body is available to help me move those other parts of my body that cannot move on their own.

Connecting with my partner, myself and my emotions

They say it takes two to tango, and the bond I share with my dance partner, Matías, is beautiful. He is part of me. We share moments in not just our art, but also life in general; we have conversations and support each other.

Our meeting was a learning moment for both of us, because he had never danced with a dancer in a wheelchair. We complement each other well. At first, we explored and discovered different ways to accomplish the goals of the piece, learning to connect and recognize each other in different situations based merely on a certain look or the connection we share. We met in 2013 and have not stopped trying new things since then.

A dance partner might have a similar energy, but there are times you have to regulate your power a little to avoid hurting each other. Due to my natural shyness, I had to work on mastering communication; it improved after a lot of effort and getting to know each other. Now, communication mostly comes through our movements.

Integrative dance requires substantial awareness from all parties, because not all artists with disabilities have the same type or degree of disability. For an artist with a spinal cord injury, the partners and choreographers must take into account the degree or the height at which the person suffered the injury. You must constantly consider balance, strength, and range of motion to avoid further damage or falling out of the chair.

When I dance the tango, I connect with my own feelings. Although I represent a character, I am also telling part of my life and exposing something of my own. I reveal something of myself every time I perform, and that intimacy transforms me as I dance. 

Survivor of Kenya Bus Accident Recounts Tragedy

Regina Kimwele
Interview Subject
Regina Kimwele is one of only 12 survivors of the Dec. 4 bus accident at the Enziu River in Kitui County, Kenya.

She is an active member of the Mwingi Catholic Church as well as a member of the church’s choir, which lost over 20 members in the accident.
Background Information
On Dec. 4, 2021, a bus carrying over 50 people overturned while trying to cross the flooded Enziu River on the way to a wedding/vow renewal celebration.

The bus contained members of the Mwingi Catholic Church choir and family members of the couple, in addition to about 30 additional passengers.

The total dead so far is 33, including several children. There were 12 survivors.

Mwingi is one of the most dry parts in Kenya but has recently experienced heavy rainfall resulting in the flooding.

The national and Kitui County governments are partnering to cover all burial expenses of the deceased. The Kitui County governor put the blame for the shoddy bridge on the national government and said it’s renovation is now considered a priority.

KITUI COUNTY, Kenya—I escaped death earlier this month when a bus I was riding in overturned in a flooded river. Thirty-three others weren’t so lucky.

A flooded river and a dangerous choice

When we left, the weather was calm though it had rained the previous day. The first 1.5 hours of our ride were uneventful, but when we arrived at the Enziu River around 11:30 a.m., we found it had flooded and burst its banks. The bridge had fully flooded too. This forced us to stop, hoping the water levels would decrease.

That much rain is rare in Kitui County, and locals had turned out to gawk at the spectacle. We alighted from the bus and started singing and interacting with the locals and the other stranded people waiting to cross. As two hours passed, two large trucks managed to successfully pass through, as did a car from the opposite direction. Because of this, we thought the water levels and the intensity of the river had decreased.

Most of the passengers asked the bus driver to try and cross the bridge, as patience and time for us to make it to the wedding was running out. The driver hesitated, saying he wasn’t familiar with the road, but gave in and asked more people to board the bus in order to add weight. He said this would help avoid the bus being swept away.

Our original group was about two dozen, but around 30 people who also wanted to cross the flooded bridge boarded the bus to make the trip.

When we re-boarded, I sat on in the back seat of the bus.

People screamed for help as the waters rose

Everything happened so fast once we started moving. I can barely explain it.

Within a minute, I felt the bus sliding toward the left and almost instantly, it overturned completely into the river. Screams filled the air, with many calling the name of Jesus Christ to save us. Water immediately rushed in on the side that had submerged in the river, and the passengers on that side were already fighting for their lives.

I stood on the seat but realized the water levels were rising inside the bus too quickly to stay safe. Using my legs, I knocked out the window glass as my hands grasped the seat. I came out falling into the rushing, freezing cold water of the flooded river. I can’t swim, and terror filled my mind.

Somehow I was able to grasp a metal rod on the bus which helped me hold on without sinking. I struggled to keep my head above water. Some locals who could swim and were trying to rescue us pulled me out of the water, and I was able to stand on top of the bus. However, I could feel it sinking to the bottom of the river.

After a minute, the swimmers told me that they couldn’t help where I was and asked me to get back into the water so that the approaching rescue team could save me. I was reluctant, but they insisted that it was the only option to survive. I relented and jumped in, and the rescue team arrived within seconds and pulled me to shore.

Rescued but in mourning

My rescuers carried me onshore and put me in an ambulance. I didn’t feel ill or injured despite my ordeal—confusion and fear clawed at me instead.

The ambulance carried me to the hospital where tests confirmed I was physically healthy and unharmed. There, I sat in shock watching the breaking news coverage of the tragedy. Hours later, someone informed me that my boss—the son of the wedding couple, who I was accompanying on the trip—had survived but his wife and two children perished in the accident. The news shook me and hurt my heart; I spent the evening crying until doctors administered sleeping pills.

This terrible experience will always live in my mind. I thanked God and will always do so—I feel so blessed for this second chance at life and lucky to have escaped. However, the loss of so many friends remains painful and traumatizing. I am so sad when I think of those who did not survive. I pray for my departed brothers and sisters every day.

A onlooked captured video of the tragedy that can be viewed on Youtube. Warning: Viewer discretion is advised.

Chapecoense plane crash survivor lives through another deadly accident

COCHABAMBA, Bolivia—Some would say surviving one accident that killed many others is a miracle. However, I’ve now survived two in less than five years.

Erwin Tumiri
Interview Subject
Erwin Tumiri, 30, was one of six survivors of the 2016 Chapecoense plane crash that killed 71 people. He was born in Chimoré, Bolivia and studied aeronautical mechanics then private piloting, which he completed in 2015. He is currently enrolled in a commercial pilot course.
Bakground Information
Chapecoense Tragedy: The crash of LaMia Flight 2933, widely known as the Chapecoense tragedy, occurred on Nov. 28, 2016. The charter flight was transporting the Brazilian Chapecoense football squad and their entourage to Medellín, Colombia for a march in the 2016 Copa Sudamericana Finals. The crash killed 71 of the 77 people on board, including all but three of the players.

Investigation of the crash blamed human and management errors by the pilot and airline. The plane ran out of fuel, was over its weight limit, and flying with “unacceptable” conditions, and the pilot failed to report the engine failure due to the lack of fuel until it was too late. Here is the full official report.

Traffic Fatalities in Bolivia: The crash that Tumiri survived on March 2, 2021 killed 21 people and injured 30 more. The BBC reported in 2019 that some 1,000 people die and 40,000 are injured in accidents on Bolivia’s roads every year, according to official data quoted by Efe news agency.

A normal plane ride, until it wasn’t

That day on board, the flight engineer told me we were going directly from the Viru Viru International Airport in Bolivia to our destination, José María Córdova International Airport in Colombia.

I wondered why, since I knew we had to refuel. As one of seven crew members, I couldn’t do much because others were in charge. I thought they knew what they were doing—I thought we were going to load fuel elsewhere. I never could have imagined what would happen that night.

At 10 p.m, the pilot said that we were about to land. We had no reason to think anything else. I was exhausted, as I hadn’t gotten much sleep.

Suddenly the cabin lights went out, and the hazard lights came on. I remained calm because we were nearly at the airport. Nothing could happen, I thought. There was no announcement, no alert of something wrong. We asked for an emergency landing, and they gave us clearance.

Surviving the Chapecoense tragedy

Suddenly, the crash happened. I thought it was a bad dream, that I fell asleep, and I needed to wake up.

After the crash, I stood up, looking down as if something hurt my stomach. My arms and legs were fine. There was a scrape on my chin and a gash on my arm. I did not know what was happening. I was in shock.

Someone slapped me to make me react. People were screaming. Little by little, I realized it was not a dream; it was real life. I heard a girl screaming, so I took her to a safer place. Pain overtook me, and I couldn’t move any further.  

At the time, I thought the crash wasn’t that serious because I barely hurt myself. I didn’t know any details about how many people had died until days later. When I saw the names of the deceased, everything blurred for an instant. Fear filled me as I realized what I had lived through.

Processing the trauma

I didn’t begin to truly understand everything I went through until I talked with my family. I finally realized how severe the accident was and that I had survived.

I continue to suffer from pain in my spine and neck—it affects me when I hear about aircraft accidents. Sometimes, my mind transports me back there. Sadness and anger fills me as a I think about how it happened what it felt like to be there. 

People always ask me, what does it feel like to rise from the dead? I think it was the will of God, because I can’t explain it. It was as if I had fallen down during the crash, and when I stood, everything was calm. None of my clothes even got torn. The first thing I said was, thank you, Lord, for giving me one more chance.

Once again surviving a fatal crash

In March of this year, it happened again.

I boarded the bus to go to work. Around 10 p.m., I started to notice an uproar from other passengers. Through the window, I noticed the bus was going very fast. People shouted, “stop, stop!” We were going so fast—I was already thinking that something was going to happen, that we were going to crash or overturn. All I could do was grab onto the seat in front of me to brace myself.

Then, the bus overturned off the road and down the steep hillside. One thought kept running through my mind: I am not going to die here.

It kept turning over and over until it finally came to rest. I got up half-stunned—I had hit my head and my knee. It seemed like a dream. Once again, I was in shock.

People began to get out. I was one of the first to climb out a window, and I went to sit on a rock until they came down for me. We had plunged about 500 feet. They took me up the road, and the ambulances came.

Reflecting on the accidents, and advice to others

It was possible to prevent both of these accidents. Thinking about it fills me with anger. It was because of the money; the plane did not have enough fuel, and the bus should have had good brakes and tires.

My advice to anyone who finds themselves in a life-threatening situation is to not give up—you have to keep going.

I had driven this bus route several times. Even though we all could sense something terrible was going to happen, I said, “I am not going to die here,” even if I doubted it in my heart. Many died, including women and children. It is so sad; I have to believe it is destiny that I survived once again.

From farm to courtroom: meet Kenya’s first female chief justice

Martha K. Koome
Interview Subject
Martha Karambu Koome, de 61 años, se convirtió en la primera mujer presidenta del Tribunal Supremo de Kenia cuando asumió el cargo en mayo de 2021.

Ejerciendo desde 1987, tiene un largo historial de defensa de los derechos de las mujeres y los niños en Kenia, y en 2020 fue finalista en el Premio a la Persona del Año de la ONU en Kenia.
Background Information
Las acusaciones de corrupción han perseguido durante mucho tiempo al sistema judicial de Kenia. Según Stata.com, en 2019 el 51% de los kenianos consideraba que algunos de los jueces y magistrados del país estaban involucrados con la corrupción, mientras que otro 35% de los encuestados dijo que la mayoría o todos eran corruptos.

El presidente del Tribunal Supremo Koome ha dado prioridad a acelerar los aproximadamente 400 casos de corrupción que languidecen en el sistema judicial, algunos de los cuales han estado en proceso durante 15 años.

NAIROBI, Kenya—I grew up a traditional African girl, born and raised in Kathiru village. My father, a polygamous peasant farmer, bore 18 children.

Growing up in the Meru region, around the slopes of Mount Kenya, I spent most of my free time on the shamba, our family farm. I learned at a young age that you must work before you eat.

My upbringing taught me the virtues necessary to succeed. Today, I am Kenya’s first female chief justice and a staunch defender of human rights.

Humble beginnings for Kenya’s first female chief justice

My mum and grandmother instilled in me the characteristics of a true African woman. In many ways, we were blessed.

Girls my age often loitered around the village on the weekends and during holidays. I, on the other hand, worked hard at home on our farm. My many brothers protected me and inspired fear from the other students, and my academic performance commanded respect.

Church was like our second home, and I never missed a service without good reason.

While large polygamous families often battled hunger, we had plenty of food from the farm to feed us. We tilled the land, and I learned to prepare the most delicious kienyeji (traditional) delicacies from the women in my family.

The training I received at home was passionate and valuable, but I loved to be in school, often wishing the classroom would not close for breaks.

My siblings and I walked to school barefoot. Shoes, at that time, were reserved for teachers and staff. My grandmother often told me, “If you work hard, Martha, you will have many pairs of shoes.” I pushed myself, not only for shoes, but to change the status of women around me.

Inspired to fight for justice from a young age

As a young girl, I saw so many cases of domestic violence: of women who were voiceless, beaten by their husbands and relatives with nowhere to hide.

They came into the church, where they could share in small groups. We heard how they were treated at home. Sometimes, these women sought temporary refuge for a day or two with my family, where they could take a break from their drunk husbands.

One woman came to us after toiling all day, looking for food and caring for the children. By the time she was able to prepare a meal, it was late in the day. Her husband returned home with nothing more to offer the family, yet he beat her for preparing the meal late.

She arrived at our house with her children seeking shelter. Anger and annoyance arose inside me. I decided to study law, to fight for women and children like them.

Spurring change through legal activism

Since my admittance to the Law Society of Kenya in 1987, I have seen the constitution changed to advocate for the rights of women and children.

We established the Federation of Women Lawyers (FIDA), offering pro-bono legal services to victims of sexual assault, along with psychosocial support.

Establishing my firm in the 1980s, in a field dominated by men, called upon the resilience I learned as a young girl on the farm. This fierceness empowered me to champion the rights of political detainees, women, and children.

None of these achievements were easily won. In an era when you could be arrested and convicted for criticizing the president and the judiciary was not independent, we achieved impossible tasks.

Through it all, I stood proudly. While being vetted to be a Court of Appeals judge, I requested my interviews be public. Corruption tainted the corridors of justice in Kenya, but I stood opposed—with morals and standards—against the bribery and rotten elements among us.

Now, with six months in office as Kenya’s first female chief justice, my life and my country are on a new trajectory. Yes, we have challenges, but we will face them. With a team of over 40 judges, we are clearing backlogged cases as we seek to regain public trust in the judiciary and to do away with corruption and delayed justice.

All of these achievements have come because of, not in spite of, my rural upbringing. The tough lessons and struggles we faced taught me to survive. Today, those very lessons allow me to be of service—not just to women and children, but to an entire nation.

Indian journalist overcomes domestic abuse to join all-women news outlet

Geeta
Interview Subject
Geeta, 33, was married off when she was 15 years old to a man 10 years her senior. She suffered domestic violence for seven years before finding the strength to divorce her husband.

Today, Geeta works with Khabar Lahariya, a woman-run Indian newspaper and digital news outlet, as a chief reporter. She has fought patriarchy and gender stereotypes while raising three children on her own.
Background Information

In 2018, India was named as the most dangerous place in the world to be a woman by a Thomson Reuters Foundation poll. A 2020 study found that one in three women in India has been subject to domestic abuse in her lifetime. As few as 1 in 10 women report the violence, and when they do, police are often unsympathetic and unhelpful.

When dealing with these conditions, verifying a subject’s account through courts or law enforcement records becomes challenging. However, many witnessed the crimes outlined by Geeta including village elders, neighbors, and family members. As part of the verification process, the author obtained the identities of the witnesses. To protect them and Geeta, whose last name is not revealed here, those witness names will not be published.


Khabar Lahariya is a collective of rural, often lower caste women journalists who run an independent weekly newspaper and robust digital news platform, focusing largely on local news and rural issues. Everything on Khabar Lahariya is written, edited, produced, distributed and marketed by women throughout India’s small towns and villages.

UNICEF estimates South Asia has the highest rates of child marriage in the world. Almost half (45%) of all women aged 20-24 years reported being married before 18. Nearly one in five girls (17%) are married before the age of 15. The National Crime Records Bureau of India reported 6,966 dowry deaths in 2020. In other words, about 19 women lost their lives every day for dowry. 
 
The Committee on the Elimination of Discrimination Against Women (CEDAW) recommends removing the marital rape exception from IPC 375. The section of the Indian Penal Code that defines rape considers forced sex in marriages as a crime only when the wife is below age 15. Therefore, it’s still legal for Indian men to rape their wives as long as they are older than 15.

New Delhi, INDIA – I was 15 and had just passed my eighth-grade exams when my father ordered me to marry the man he selected for me. 

A mere child, I was unable to make my own decisions. I was not ready to have a husband; I did not know what marriage, sex, or childbirth entailed. Yet, I endured all these things. I was robbed of a chance to learn and grow.

Years of physical and sexual violence

When I moved into my in-laws’ house after the wedding, they subjected me to excruciating physical and mental torture because they said I hadn’t paid an adequate dowry. 

They had demanded 70 grams of gold from my father. He paid them the equivalent: 25,000 INR (Indian rupees, or $333 USD) and 20 grams of gold. That wasn’t enough. I wasn’t enough.

It was clear to me that they didn’t need a daughter-in-law. They simply needed money.

My husband, 10 years my senior, shouted at me for no reason. He would often beat me with his belt and throw me out of the house. Other times, he would grab me by the hair, throw me on the floor, get on top of me and choke me.

Whenever I talked of separation, he threatened to kill me as well as my only brother, and hit me even harder.

I began to question my self-worth and thought of committing suicide many times. Overwhelming feelings of embarrassment and shame kept me from sharing what I was going through.

My sobs each night went unheard. I covered the bruises on my body, but my face also bore the marks of the violence, so I was not allowed to go outside.

I was essentially a slave—I had no choice but to tolerate the abuse every day. So I suffered in silence.

I now have three sons. But they were born out of marital rape, not love.

All feelings of affection were absent between me and my husband. He would often force himself on me for sex. He treated me as his property. My consent, or lack of it, meant nothing to him.

My world was full of darkness, agony, anxiety, fear, and helplessness. All I could do was pray.

A first attempt to flee

Despite the case of abuse, I found no support or sympathy in my own family.

Whenever my husband brutally beat me, I would share my pain with my parents.  Instead of giving me a shoulder to lean on, they told me to endure, to continue living with him and tolerating the abuse. They said that this happens in every household and that it was my duty to work at the marriage.

I couldn’t bear this existence anymore. It was killing me. But I had nowhere to go. Who would feed a woman with three children? 

One day, when my husband threw me against the wall, I decided to leave for good.

He asked me to get money from my father as an additional dowry. When I didn’t come back with it, he appeared at my parents’ home the next day. I refused to go with him, saying my father didn’t have the means to pay and that I would return when he could send the money.

For about five months, I stayed at my parents’ home. During that time, the village chiefs intervened to help us reach a compromise. Finally, my husband promised to behave; he said all the right things to get me back in his possession. I agreed to give him another chance.

Back-breaking labor to support my family

However, my husband turned into the same old monster in less than a month. He also quit working and pushed me to take on work to run the house. 

I can never forget those days. I worked as a construction laborer doing back-breaking, manual tasks I never imagined I could or would do. My duties included removing concrete debris, loading heavy building material on my head, and helping move heavy equipment. Painful blisters bloomed along my palms and feet. That didn’t stop the abuse at home.

One day, my infant son passed a stool in his pants. My husband called me from the construction site to clean him. I rushed home immediately to care for my baby, but I didn’t have time to change his clothes. As a punishment, my husband held my hair and slapped me until I blacked out. I tried to retaliate, but he was too strong. I returned to work with bruises on my face.

My family eventually heard about me working on the construction site. One day, my cousin visited us and called me a blot on the family name for working a low-grade job. He asked me to go with him, but I refused as they were only concerned about their family image and not what I was going through. 

They didn’t want to help a domestic violence victim, but would support me in leaving the job as it brought them shame in society. 

When my cousin saw I was adamant, he promised to give me the respect I deserved. I warned him: either take me home never to return or don’t take me at all. He agreed. And I left my husband forever.

One last fight for freedom

My father arrived the next day. We went to the police station to file a formal complaint. When my husband was summoned, he asked for a compromise again. I refused. I was at my limit—I had no strength left to endure the abuse.

To my horror, the lady constable slapped me twice on my face for not agreeing to my husband’s offer. She told me I must submit to his demands and that “it was just a domestic violence case.”

They forced me to sign the compromise papers. But the moment I was out of the police station, I ran towards my home. My husband stopped me mid-way and tried to grab my hair. This time, thankfully, my cousins, neighbors, and my father rushed to save my life. 

He found himself facing the crowd alone and let me go. That was the last day I or my children lived with him. We separated for good in February 2009.

Once abused, now I am unstoppable

I was at a crossroads; a divorced woman is taboo in Indian society. Though I wanted to be independent, my lack of education crippled my prospects. By chance, a relative suggested I join Khabar Lahariya, a collective of rural women journalists.

At times of desperation, all you need is a little hope. My life took a turn for the better after Khabar Lahariya welcomed me with open arms. 

Geeta on the job, interviewing someone for a story | Photo courtesy of Geeta

Initially, I covered crime stories and women-related issues. I faced all kinds of threats and harassment. Many tried to bribe me from exposing their evil acts. But I didn’t stop—I had nothing to lose. 

I started working as a journalist to prove my self-worth. If I earned my own money, I knew I could empower myself and live a happy life. In India, women like me, living with their parents and without in-laws to support them, are considered a burden.

Now, it’s been 12 years of freedom and empowerment. Though I ended my traumatic marriage, I still battle society’s expectations and outdated thinking.

When I go out in the village, I get comments like “poor woman” and “how bad, she is walking alone.” They ask about my marital status. Some pity me when I say I have divorced; others get offended at me for leaving my husband. They judge me, my character, and the way I dress. 

I cherish one victory, however: I have changed the way my family thought of me, women in general, and their perception of a married, working woman. 

My father was annoyed when I joined Khabar Lahariya— he said it wasn’t necessary because he could provide for me. He clashed with my mother for “spoiling me” and didn’t speak to me for days. But when he first read my name in the newspaper, he changed his mind.

It is difficult to break the chains of patriarchy in India, whether your own parents or parents-in-law. But I prove every day that it’s possible.

Indian javelin thrower makes history at Tokyo Olympics

Neeraj Chopra
Interview Subject
Neeraj Chopra, 23, is the first track and field athlete to win a gold medal for India in the Olympics.

Chopra is a junior commissioned officer in the Indian Army with the Rajputana Rifles in 2016 and made his first mark on international athletics that same year, setting a world record javelin throw at the World Athletics under-20 Championships. Two years later, he became the first Indian athlete to win the javelin gold at the Asian Games and the Commonwealth Games.

The backing from the Army substantially contributed to his success, ensuring he was supported through his training. Chopra’s first coach was Naib Subedar Kashinath Naik, a Commonwealth Games bronze medal winner. Later, he was coached by the legendary German javelinist Uwe Hohn.
Background Information
Javelin throwing has long been part of the Olympic games, in ancient times as part of the pentathlon and as an individual event in the modern Games since 1908 for men and 1927 for women.

Thanks in part to Chopra’s gold-winning throw at Tokyo Olympics, India racked up its best-ever Olympic medal haul of seven and contributed to a resurgence of national pride amid the ravages of COVID-19.

India’s only previous athletics medals came in 1900: two silvers won by Norman Pritchard, son of a British colonial family. The country has earned a record number of men’s field hockey team golds, and Abhinav Bindra won the nation’s only other individual gold for air rifle shooting in 2008.

New Delhi, INDIA – At the 2020 Tokyo Olympics (held in summer 2021), I carried the weight of my country’s expectations on my shoulders. No Indian had ever won an Olympic gold medal in athletics (track and field, road running, and racewalking events).

Sleep had been elusive since arriving in Tokyo; the night before the final, I finally drifted off at midnight and woke at 5 a.m. I knew it was the biggest day of my sporting career. Thoughts about the Olympic stadium, the unfamiliar surroundings, my performance, and my fitness raced through my mind.

Stepping up to the Olympic spotlight

Finally, it was time to compete. Only a handful of officials and coaches were present at the stadium thanks to the COVID-19 pandemic. However, millions of people back home eagerly watched and waited to hear the Indian national anthem play at the games and for those three important words: athletics, gold, India.

Thoughts of a gold medal swirled through my mind. With my javelin in my hand, I stood at the runway and focused on the throw.

Years of strength training, technical improvement, and mental focus had led to consistency in my distance. I was confident I would nail a near-perfect throw and win the prize.

For a moment, I thought back to my qualifier round. I threw a distance of 86.65 meters on my first attempt: 3.15 meters above the qualifying mark. My first throw now would be critical. If I made an excellent throw, my competitors would feel the pressure.

The javelin left my hand, and I thought it touched the 82-meter mark. Emotions overwhelmed me when I saw it reached 86.48 meters.

I stepped up for my second throw. With the Olympic record of 90.57 meters on my mind, I threw with all my power and speed.

When I throw, I immediately know how well or badly I have done, from the way my effort, rhythm and technique come together in the release of the javelin. The moment it left my hand this time, I knew I won the gold.

I threw 87.58 meters. Though it did not reach my personal best of 88.06 meters, I had achieved my greatest dream.

I didn’t look at the javelin even once after that throw—I turned around immediately and began celebrating.

A winding journey to Tokyo victory

Standing on top of the podium with the gold medal around my neck and the national flag of India raised above me, goosebumps covered my arms and tears stood in my eyes.

The moment seemed surreal – it was my first Olympic medal and India’s first gold in athletics. No longer did javelin throwers stand in the shadows of other Indian gold medalists in hockey and shooting.

Chopra’s future as a thrower faced a roadblock after a potentially career-ending elbow injury in 2019 | Photo courtesy of Neeraj Chopra

They pronounced me the best in the world. It took me a while to realize what I was holding in my hand. When a reporter asked me, ‘How does it feel?’ I told her, ‘I don’t know yet, I haven’t figured that out!’

The moment brought to mind my humble beginnings, growing up in a farming family. Instead of updating our family home, my parents channeled their modest resources into fulfilling my dream.

I sacrificed too, traveling many miles to practice, standing in the glaring sun for hours awaiting the bus. When I had no money for the return fare, I walked or asked strangers for rides. I eventually left home as a teen to train at an athletics facility located hours away from my family.

Everything I had worked for seemed at risk in April 2019, when I suffered a major injury to my right elbow. I endured excruciating pain and lost my strength, joint movement and ability to throw. Surgery, rehabilitation and training followed, only for the pandemic to strike in 2020 and again throw my path to the Olympics into uncertainty.

Yet there I stood in Tokyo, the Indian national anthem playing over the loudspeakers. I will cherish that moment forever.

Kenyan journalist, forcibly outed, lives their truth and launches Bold Network Africa

Chris Makena
Interview Subject
Chris Makena (they/them) is the founder and CEO of Bold Network Africa, an LGBTQ+ advocacy and educational organization. “Bold” stands for Brave, Odd, Loud and Different.

Chris is well known in the country as an actor and journalist. They have served as a youth reporter for the British Broadcasting Corporation (BBC) and a TedEx speaker.

Chris uses social media to confidently and proudly present their life and fashion as an androgenous and gay person in Africa. Their following on Instagram grew quickly and currently numbers 132,000.

By choosing the path of being brave and bold, Chris helps others understand it is a not crime just to exist as your authentic self as a human being.
Background Information
Based in Nairobi, Kenya, Bold Network Africa (BNA) is a human services and human rights organization based upon three pillars.

The first pillar is storytelling. BNA tells stories of the LGBTQ+ community in Africa to the world, to inspire and educate society and help end discrimination.

The second pillar is training. BNA provides training for African companies and organizations to help create welcoming and inclusive environments for the LGBTQ+ community.

The third pillar is music and art. BNA supports African creatives and hosts monthly music events for LGBTQ+ people and allies, the latest of which attracted over 1,000 people. By next year, BNA hopes to host a pride day, spreading their message and love across the African continent.

LGBTQ+ individuals in need of support can find safe spaces and safe, vetted therapists through BNA. Often times in Kenya, when someone whose sexual orientation or gender identity does not meet standards of heteronormativity or the gender binary, they are often entered immediately into conversation therapy. BNA ensures counselors are compassionate and supportive of the community.

To learn more, visit BNA’s Facebook or Twitter pages.


A 2021 study published in the International Journal of Environmental Research and Public Health revealed serious concern for the mental health of LGBTQ+ individuals in Kenya.

More than half of the 527 participants reported significant levels of post-traumatic stress disorder (PTSD) symptoms, and over 25% reported significant depressive symptoms. Many participants who reported PTSD symptoms also reported having experienced violence due to their sexual or gender minority status.

Culturally, the LGBTQ+ community in Kenya faces steep obstacles to acceptance, which organizations like Bold Network Africa are hoping to overcome. As recently as September 2021, the country’s film classification board banned the documentary “I am Samuel from airing, calling it “blasphemous and an affront to the constitution.” The movie featured one gay man’s fight to be accepted.

NAIROBI, Kenya—I stared into my wardrobe at the clothes I wanted to wear—androgenous clothes—and pain filled me up inside.

As a young person, preparing for a wedding or family gathering left me caged, always accommodating some societal norm or the assumptions of other people.

As I entered the room, they exchanged looks and angled their heads downward to whisper. Their stares left me feeling unsafe.

Seated around a table surrounded by loved ones, I was constantly surviving, constantly fighting.

“Are you ever going to come with a dress?” they would ask. “I don’t have dresses,” I replied.

Hiding in the confines of societal norms

As an androgenous person and a lesbian, this act of hiding who I was left a heaviness in my chest.

One day, instead of saying, “I don’t have dresses,” I would say, “I don’t like wearing dresses,” but that transition took time. In these rooms full of people, I felt pulled outside of myself.

Conversations ensued, ones I could easily engage in, but I stayed silent. I avoided interaction and eye contact, counting down the minutes until I could leave.

As I made my way through the evening, questions arose. “When are you going to come with your boyfriend?” and “Why are you wearing a man’s shirt?”

My mind silently shouted back at them, “How long will I have to feel this way? When will they ever understand me?” Anger arose inside and punctured my heart.

Back home, in my safe space, I cried, desperate to never feel that way again. To compensate, I made decisions to help me avoid the next event. I signed up for workshops out of town, so I didn’t have to go.

Yet, the suffering followed me. As a journalist working in a newsroom, the questions came again. Colleagues asked why I was wearing a suit, or taking male producer jobs. I projected the anger I felt inside out onto the people around me.

Outed against my will

It was a typical weekday morning. I awoke to the watchman at my apartment complex urging me to go downstairs. My car had been vandalized overnight.

I had been doing some work for the British Broadcasting Corporation (BBC), and as a young, Kenyan journalist, I drew the attention of the public.

Out on the street, I saw that someone had spray painted “Gay Journalist” in big letters across my car. I felt myself sink down into what would become months of depression.

My mind spun to the question of why. For all the good work I do—for all the absolutely beautiful stories I share as a journalist—why did humanity reduce my life to discrimination and hate simply because of my identity and sexuality?

A dark time followed. I was afraid to face the world: afraid people would recognize me now, not just as a well-known public figure, but as a gay person. I stopped visiting the mall and the supermarket during the day.

Again, my mind posed a question: how can I reverse this? A persistent thought arose and became nearly constant. There is no reverse. This has happened, and now I needed to make a decision. In that moment, I understood: I am the only who can stop me living like this.

At 24 years old, I realized that I could never change others, yet I carried their judgements with me. I was the one who went home at night full of pain, while they lived as their truest and highest self.

Living life fully free

My friend arrived at my apartment on a sunny Sunday afternoon, to pick me up for drinks.

I walked into the restaurant and for the first time, I wasn’t hiding. People recognized me. They scrolled through their phones and stared as they read the stories about me, but I didn’t care!

For the first time, I was living fully. I sat with my friends, laughing, and enjoying drinks. Strangers approached and said they loved me.

In that moment, a shift happened. I understood I had lived my life based upon other people’s words and ideas.

I decided to go out into the sun, to be myself, to live, and be happy. For all those years I held myself back with family, in meetings, in office spaces, with friends, and even in my car. Now, I was determined to live as my true self.

Standing in front of my wardrobe, I went with the suit. I put on the cologne. At events, I brought a partner. Soon, the comments shifted. An uncle said, “Hey, I like that shirt,” and others complimented my outfits.

Today, the people allowed in my life know how bold I am. There is no going backwards.

A message to those suffering

To those who can relate, the pain you carry is not your fault. Whatever age you are, you have the power to control your life.

Others will say, this is what you need to wear and how you should carry yourself. This is the job you should do, the person you should love, and how you should speak.

I contend that if their choices give you pain, break the chains, and live your truth. Pick the shirt you like. Bring the person you love home.

Then there are those of us who go through mental abuse or are thrown into conversion therapy. It is in those moments you decide, no matter what, you will choose yourself first. You have your own life to live.

Some parents will have unconditional love. Some won’t. As long as you constantly remind them of who you are, and they aren’t being hostile, give them an opportunity. These things take time, but choose yourself always.

Bold Network Africa regularly holds events for members of the LGBTQ+ community to gather, celebrate and express themselves through dance, art and other creative outlets. | Photo courtesy of Bold Network Africa’s Facebook page