Sabrina Louis

France’s all-day street party, Fête de la Musique, is an effervescent display of live music. The sprawling event sees all genres and types of musicians play out across the streets of Paris.

Having recently staged its 40th edition, the beginnings of this cultural celebration hark back to the former French Minister of Culture in 1982, Jack Lang. Lang’s inspiration came from American musician and radio producer Joel Cohen, who wanted to kick off the summer season with a public display of music. Inspired by this idea, Lang appointed French journalist and composer Maurice Fleuret as the Director of Music and Dance, and tasked him with bringing to life a celebration that would make music accessible to all, and unite the people of Paris on the longest day of the year. Fleuret’s creative motive was to have 

“music everywhere and concerts nowhere”

, with all genres of music filling the boulevards of Paris. The all-day party was designed to be a 

“place of exchanges, of passions, of linking artists and people”

Since, Fête de la Musique has become one of France’s key cultural highlights over the last few decades, with a number of European countries adopting the tradition. The festival is free of charge, with public transport offering discounted travel for the festivities. While most of the events are held outside, many concert halls, bars and theatres open their doors to the occasion, putting on an assortment of musical performances throughout the day. Stages are set up around the capital city, hosting a range of live musical talent – from musicians to drummers and guitarists, as well as sets from DJs. Some of the most renowned stages are implemented along the banks of the Seine, as well as in Jardin des Tuileries, the Louvre, the Institut du Monde Arabe and the Petit Palais.

Fête de la Musique takes place in Paris, France, on 21 June 2023.

France

Paris

Fête de la Musique

London’s Palestine Film Festival uses cinema to shine a light on the oppression of its people. Through new releases and restorations of older works, the event celebrates Palestinian culture, people and its history.

Established in 2000 by the SOAS Palestinian society, the London Palestine Film Festival has gained momentum across some of the capital city’s most influential art institutions. For a whole week, the society put on a range of exhibitions across the Barbican, ICA, University of SOAS and Curzon, amplifying Palestinian voices and sharing stories from within their community. With a focus on Palestinian people, the festival has spent over the last 20 years honing in on lived experiences and exposing silenced voices through rare shorts, book discussions, retrospectives and films.

Highlights from the 2022 programme included a dark, comedic exploration of masculinity and mental health through Maha Haj’s Mediterranean Fever, and a meditative documentary by Jumana Manna on Israel’s nature protection laws. This year also paid tribute to Palestinian author, Ghassan Kanafi, to mark 50 years since his untimely assassination.

The annual event is a non-profit voluntary organisation that aims to create more conversations around the oppression of Palestine, and to empower its community. The platform brings together an array of filmmakers, scholars and emerging talent to share their art with the public year on year.

London Palestine Film Festival will take place across various venues in November 2023.

United Kingdom

London

London Palestine Film Festival

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 boasts a “secret” location that’s nothing short of awe-inspiring. 

Organik is founded by the visionary minds behind the podcast, events series and label Smoke Machine. Born in 2012 out of a scarcity of forward-facing electronic music in Taiwan and a cohesive underground scene to follow suit, this annual spectacle unfolds across a black sand beach just beyond Hualien. It's a visual and sensory rave experience, where the festival's natural setting plays a large role in creating a sense of escapism and cultural immersion.

This year, Organik is set to drill down into its theme of exploring the intersection of nature and music. To do this, the event is hosting a sprawling programme of local and international talent across three stages; an open-air main stage, an intimate indoor space and an ambient area. Last year’s edition welcomed an array of global electronic talent from the likes of Diskonnected and Tsui to Call Super and Sedef Adasi. 

Organik has been instrumental in providing Taiwan’s underground scene with a meeting point, a nucleus in which international, local and East and Southeast Asian selectors can come together for a knees-up in Taipei.

is one of the finalists for Trippin 50, a cultural calendar featuring the best events around the world. 

Organik Festival is taking place across the east coast of Taiwan on 26 April 2024.

The temperature averages at around 24°C.

To get to the festival, the easiest route by public transport starts from Tamsui Station. Take Bus 862, get off at the North Coast National Scenic Area Administration stop, then you can reach the site by foot in about 12 minutes.

You can camp at the festival or have a look for neighbouring accommodation within the Shimen District and Sanzhi District, both areas are located a 10-15 minute drive away from the venue.

There is currently no information on accessibility.


Organik Festival

Ilgwang Beach, located on the coastline of Busan in South Korea, sets the stage for 

. Through site-specific installations and sculptures, this visual arts event encourages viewers to question their relationship with the sea and natural landscape.

Ilgwang beach is regarded as one of the eight sights of Gijang in Busan, making it a popular historic seaside village for local communities. Founded in 1987 as a pre-Olympic cultural event, Sea Art Festival was created to urge viewers to reflect on their role in the climate crisis. Through site-specific installations and marine-themed sculptures, the art on display is designed to forge a connection between viewers and the natural landscape. Sea Art Festival takes place every odd-numbered calendar year, alternating with the contemporary art show 

, which returns on even-numbered years. It’s worth noting that Busan Biennale is one of the largest celebrations of Asian talent, an event that Sea Art Festival has been integrated into. Both events are organised by the same committee, who take a democratic approach to finding the next generation of innovative and creative leaders by issuing an open call.

The artists involved use water as the starting point for their creative inspiration, intersecting ideas on nature and art to create stunning displays of work for the open-air site. During the exhibition, the festival also offers academic and public programmes that can be done both online and offline. Experts in the academic field take part in discussions around liquid ecologies and the coexisting nature of human and non-human connections, while the public programmes involve yoga and meditative therapy sessions. By creating a dialogue between Busan’s history and culture, Sea Art Festival is both a local favourite and highlight for overseas visitors.

Sea Art Festival takes place every two years on Ilgwang Beach in Busan. This year’s event will be held in October 2023. Dates are yet to be announced.

Sea Art Festival

 takes us on a wistful journey through Mexico via her photo book 

 – a captivating love letter to the country and its people.

Pia Riverola was born and raised in Barcelona. After finishing her studies, she took a trip to Mexico where she "fell in love instantly" with the country – from its culture to its spirit. A year later, she packed up her bags and made the move to the North American country, documenting her travels along the way. For seven years, she lensed her life in Mexico – from its day-to-day details to the people. 

a visual ode to Mexico. The title itself means 'love at first sight', a return to the emotions that led to her move. The red-bound book is fronted by an image of flowers and crates, balancing the contrasts of everyday mundanities with vibrancy and colour. Bundles of stems are placed next to bags of flowers; beads of water running down the translucent plastic. 

contains 10 years' worth of photographs, dating back from 2012 to 2022.

Ahead of the book's release, we caught up with Riverola. Below, she shares some stunning imagery from 

and touches upon the importance of travel, and what Mexico means to her.

Why do you travel? What does it mean for you?

Travel is learning. Experiencing different cultures, meeting people, understanding nature or the lack of it, expanding cultural knowledge, digging about the past, questioning the present, future.

I started travelling for all the above and it slowly became my job to document it, so I'm extremely thankful to have the opportunity to do so.

I think aesthetic is difficult to describe as a whole since it’s in constant change. My work evolves as I do, my interests and emotions shift and change, and the aesthetic moves with it. I like to focus on the quotidian, day-to-day moments that maybe we don’t pay as much attention to. Light and colour play an important role as well in my photography.

What inspired you to make the journey around Mexico?

I moved to Mexico in 2012, right after finishing my studies. It was a mix between running away from my hometown in Barcelona, mixed with the excitement of the new and unexpected. 

I was 22 at the time and going through changes, insecurities – a very difficult time but a perfect, isolating situation to get out the resilience and some skills that I didn't think I had. I didn’t come to the realisation of what I was doing, nor did anyone, until later on. In the moment it felt like Mexico's magnetic energy pulling me into it.

You describe your book as a love letter to Mexico – its culture, people and spirit. What was the culture and local community like in Mexico?

Generosity is the first word that comes to my mind. I felt welcomed since day one, both in the city by people that would end up becoming my friends, but, more amazingly, welcomed by strangers anywhere I’d be travelling to. I have been on assignment in a remote location, small village, an island and have had people welcome me into their houses, offer me “agua del dia” or whatever food they have been cooking for the family; introduce me to their children and take me to their favourite secret spots.

I have felt the warmth and love continuously throughout the years, and that has influenced my work a lot. In the city it feels very much like a community, people supporting each other professionally but most importantly, personally, almost like a big family.

Your project spans across multiple cities in Mexico. What was the whole experience like for you? Where was your favourite place?

I lived full time in Mexico City for over seven years, so that’s definitely my favourite place in the book and probably in the world.

How have your travels influenced your overall creative practice?

Travelling constantly influences me and as a result, my creativity. My initial work was way more focused on the pleasing aesthetic, whereas now I need the storytelling, the maybe not so eye-catching, but more meaningful, stories. A more journalistic take on what I'm seeing.

You have a lot of beautiful images. Was there a particularly memorable subject?

Every person and image featured in my book is a memorable moment. A certain state of mind from the past that is stuck in time on each photo.

Are there any cultural highlights from your time in Mexico?

Day of the Dead and the weeks running up to it are beautiful to experience in the city and around the country.

People giving homage to the dead, gathering together, the flower harvest, the ofrendas and the community tradition around the date are truly special to live.

Everything is delicious and super tasty. I love huevos divorciados for breakfast, ceviche for lunch and a michelada with dinner.

What are three tips you would give to someone going to Mexico for the first time?

Make an effort to understand the culture and not appropriate it. Be kind and generous. And “mild spicy” means very spicy.

Where would you like to travel to next and why?

There are too many places to explore, and a lot still in Mexico as well. Maybe Chiapas will be my next.


Mexico

Mexico City 

Oaxaca

Pia Riverola’s Photo Book is a Love Letter to Mexico

India’s three-day music festival Magnetic Fields is a visual marvel, set within a 17th century Indo-Islamic castle in the desert village Alsisar, in Rajasthan.

2023 marks the 10th anniversary of Magnetic Fields – India’s leading boutique festival, which showcases some of the most cutting-edge underground talent. Introduced by luxury hotelier Abhimanyu Alsisar back in 2013, the festival has gained momentum amongst locals for its proud and vibrant community feel. Heritage plays an important role at this event, extending beyond the stellar music line-up by creating a unified appreciation of culture and tradition through Rajasthani hospitality.

Festival-goers can choose to indulge in the royal experience, which includes a three-day stay in a palace surrounded by grand courtyards and breathtaking sunset views. Attendees can also set up tents along the desert or pay to camp in the lodges, which can accommodate up to six people.

The 2023 programme is yet to be announced, but Magnetic Fields is a melting pot of cultures and consistently champions Indian artists alongside some of the most in-demand names across underground electronic scenes in the Western hemisphere. In 2022, the festival connected the dots between classical Indian sounds and Canartic electronic music via the showcase Elsewhere in India. Helmed by pioneering audiovisual artists Murthovic and Thiruda, they appeared on the programme alongside a celebration of 15 years of Hessle Audio and a line-up curated by Four Tet.

Festivals often include wellness programmes, such as meditation and yoga. Both of these activities originate from India, and have been offered by Magnetic Fields. Furthermore, the event hosts an array of sight-immersive activities that feel unique to the festival. In the past, these have included night-time stargazing workshops, kite flying, tattoo making in teepees and secret treasure hunts across the palace grounds.

Magnetic Fields takes place in Alsisar, Rajasthan, in December 2023. Dates are yet to be announced.

Magnetic Fields

With the current climate crisis blasting at full force this week, Moroccan artist, Polyswitch conveys his timely message of hope and unity to a generation coming of age in a period of decay and collapse, with his latest musical release ‘Praise the Sun’. 

The two-year project emanates from the adoration he feels towards the natural energy of his hometown Casablanca - a “city full of cities” carpeting part of North Africa with its rich culture and electrifying diversity.

Delving beyond Morocco’s landscape comes its rising creative and electronic scene, where Polyswitch has found his influence as one of the most prominent figures in the electronic music scene, amplifying a new cultural sound. As part of our 

series, which spotlights a dynamic new wave of exceptional global talent, we sit down with Polyswitch to chat about all things Casablanca, giving us an insight into his album and ‘taking off’ his career within the Moroccan music scene.

Congratulations on the release of PRAISE THE SUN on vinyl. The album centers around the themes of harmony, hope and unity. What was the inspiration behind this?

I’ve always wanted to create music with a deep connection to my actual life, and PRAISE THE SUN boldly portrays the ethos. Over the previous months, times were quite tricky for all of us, and as per my belief, Art, in all its sorts must be serving a purpose, In my case, the decimation, and aching caused by the pandemic has prompted me into an unprecedented need of hope and unity.

Opting for a physical release in 2022 and more precisely Vinyl is a form of preservation, I believe music consumption should be regarded as an experience, just like going to the theatre to watch a movie, music must be consumed in a noble way. When musicians ideate, write and record, the least they envision, is having their material being shuffled and skipped through DSPs, not to say that technology has shifted things for the worse, but it’s all about finding and maintaining a balance between the foundations and the tech.

What's your personal relationship with the sun like?

A vital relationship, on so many levels. It’s the energy source that’s always allowed me to reach my most potential.

How would you describe Casablanca to someone who has never been?

The real face of Modern Morocco, a city vast in area, never had any real boundaries but just kept expanding, sunny, surrounded by beaches from 10 miles away, massively populated, cosmopolitan, lavish and poor at once.

You could look at it as the yin and yang, the duality is like no other, it all depends on what you like and value. Casablanca is a city full of cities.

What's the music scene in Casablanca like compared to the rest of Morocco?

The scene is in full swing at present, thanks to the Hip-hop community that’s been booming for the last couple of years. The new generation of artists and collectives have managed to firmly position Casablanca and Morocco under the international limelight without compromising its identity, which is a great thing to witness. Many have understood that taking pride in our rich cultural heritage and therefore infusing it into what's being done nowadays can lead to a more genuine output, I’m eager to see things transpose in a similar fashion on the electronic music scene.

Can you give us an insight into how it's progressing and who is with you at the forefront of it?

The whole ecosystem is still nascent as we speak, but in the grand scheme of things the progress is owed to every individual who’s made creative efforts, I see it more as collective motion. The evolution is yet limited to hip hop and pop music, but a slight pivoting and more curiosity from the audiences could do other musical territories significantly good. Seeing how the youth care more about music nowadays is promising and would surely lead to a phenomenal outcome in the future. From my end, I'm on a continuous journey trying to manifest a different sound, a sound that doesn't necessarily speak to the masses which consequently positions me in a niche, I’m in a very quiet playground, and that's a situation I'm very content with actually.

How would you describe what you are building with Astrofever Records?

It’s a family-run initiative that took place out of necessity. The creation of the label came as a natural progression after realizing there was so much of a gap to bridge. Also, I feel like my music doesn’t sit firmly under a category, and therefore handing it to other labels might not do it justice. Home to my musical works in the first place, with my older brother Anis, who deals with the creative side of things, we’re currently solidifying the foundations for a future roster involving the local talents with whom we’d identify ourselves artistically for a broader output and hopefully a musical legacy that’ll stand the test of time.

How has travel impacted your creative process/ artistry?

Traveling has always been a major component of my creative process, although wandering far can feel uncertain at present, I've always fed on the images, scents, and encounters held with my previous trips, to me It’s a mindset refresher. Being around new people, and experiencing new places has always helped me unlock new scopes and propelled me into executing new ideas.

As a songwriter and producer who goes by the name of POLYSWITCH, how do you want people to remember you?

A free-spirited and generous musical human whose ability to transport on a journey is palpable and without artifice or pretense.

Currently studying a project involving an Australian psyche rock band fusion with a Moroccan Gnawa master, but before attacking this, I’d need to rejuvenate first, a change of scenery is imminent to cure the emptying caused by the relentless work pattern the album has entailed.

Listen to a teaser of 'PRAISE THE SUN' here. 

Morocco

Casablanca

Meet Polyswitch, the Artist Pioneering Morocco’s Electronic Scene

Growing up in Croydon, Loyle Carner had a fractured relationship with his Guyanese roots. Raised by his mother and stepdad, he had minimal contact with his estranged father who was of Guyanese descent.

When Carner came across the works of Afro-Guyanese poet John Agard a year ago, he found solace in the poem 

 a piece that inspired him to dive deep into his own identity, leading him to create his forthcoming third album 

 was produced by hip-hop legend Madlib. In the intimate video, directed by Machine Operated, landscapes are paired with the track’s themes of isolation, generational hope and resistance.

We sit down with Carner to talk about his journey to Georgetown, its link to his identity and working with John Agard.

Guyana has a difficult history with Britain. Growing up in Croydon, did you feel a strong connection to your Guyanese roots? How would you describe your connection to Guyana?

My connection to Guyana was non-existent until I was about 16, 17. My dad, who’s from Guyana, speaks really fast like me and he used to say Guyana like Ghana, so I thought I was African for ages. We never really spoke and when I did that’s what I got from him. So I guess my relationship with Guyana now is that it’s a place where I can finally be myself, and begin to understand and fall into the culture like I’m a part of something.

What was your experience like with the culture and local community there?

It was cool. In some ways it annoyingly reminded me that I am British as well. I thought when I was first there I’d be able to just slip in and no one would notice, but there were a lot of times that people called me out for not being from there. I thought that was cool in a way because it is so weird you can go to a place hoping to be completely attached there. There were some comforts from home, and it was nice to be reminded that I have two homes. I did everything out there. I played football barefoot, surrounded by a swamp and everytime the ball ended up in there someone would have to swim in there to get it. The food was so simple, the same as the stuff I make at home but just something different. I can’t explain it. Everything seemed a little bit more stripped back. There was nothing tense with anything and that allows you to enjoy things for what they are.

Are there any people you met within the local community who stood out to you?

Last time I went, I met a guitarist called Herbie. He’d been inspired by Jimi Hendrix and probably would’ve been famous if he lived anywhere other than Guyana. But, this time, when we were out there we met a little family who host people for a living and make a bit of extra money on this river called the Mahaica river, and we swam there. There were those little crocodiles, anacondas and. apparently, piranhas all in this lake, but the guy with us was saying everybody swims in there so you should swim in it and we did. The water was stained with tea leaves, because there’s tea leaves above the Mahaica river so it looks like tea, and you could drink it. The people who owned that house there blew my mind 'cause they swam in that everyday. We kept our distance from the anacondas though!

How would you describe Georgetown in three words?

Why did you choose to shoot the video in Georgetown and was there a deeper meaning there for you?

I just had never seen it. I spent a lot of lockdown reconnecting with my pops, and then trying to understand Guyana, reading books and trying to find it in the media and in videos, movies. etc. There wasn’t much, I know that Gordon Ramsey went there and that was the only thing I could find. So I felt a duty as someone who was able and who had the budget to document it and to shine a light on it. I’m heavily into Alex Webb, the photographer, who was a big reference for the video. [I wanted] to let the beauty of the place shine, not for it to be too complicated so that kids can find it and understand where they’re from, if they’re from where I am.

We’ve seen a lot of our community recently return to their heritage through travel. Do you have any words of advice for anyone thinking about making this trip soon?

Go with an open mind but don’t feel disheartened if you don’t completely assimilate or connect straight away. Be open to the fact that you’re also British if you’re from here too, and that will have an impact on how you’re seen and how you move. It will take time to catch up with the culture. I've got Nigerian friends – not mixed-race but fully Black friends – who have been to Nigeria who have been called white boy just because they might’ve asked for bottled water or don’t eat with their hands. But I think it’s essential to go, to be open-minded and to not take, but to give when you’re there. It’s easy to go to a place like that and say, "Let me get this," and bring that home, but what can you offer? Whether it’s physical or financial support – whatever way you want to support – you've definitely got to give something when you go there because they usually got less than we have, but have more happiness for some reason.

Why did you choose to work with John Agard and what was the experience like for you?

Apparently he was taught in schools but he was never taught in my school. I had seen a poem of him speaking in the 

poem and it was mad to see someone who looked like me and actually being talked about as mixed race, the same as me. A lot of people, when you’re mixed race in the public eye, are quick to say that you’re this or you’re that, or you’re neither or whatever. It was nice to have someone who was reflecting my experience, and I feel a lot of kids who didn’t get a chance to see that poem would benefit from it if it came through a medium like me. But also, personally, I just wanted to spend time with a Guyanese poet; he’s married to another poet called Grace Nichols and they’re pioneers of Guyanese poetry. I only came across his poetry last year; I was looking and obviously hadn’t been looking hard enough, but he popped up out of the blue. Shit with my dad was quite tumultuous and I was trying to reject anything that was him when I was younger. If someone had said to me, "Oh this guy’s Guyanese," I would’ve been like, "Well, fuck that guy." So it took me to grow up and to be open to receiving.

 helped you to understand your own identity?

One, to be able to speak about it. A lot of my homies on both sides – Black friends and white friends – got it easy on both sides. Everyone’s like you’re half this, you’re half that, so really it was nice to feel like one whole instead of two halves and to be able to put that out. I got a lot of homies that feel like two halves, or fractured pieces, and I think that poem was the start of what put me back together as one thing.

Did visiting your ancestral roots offer a new perspective on who you are and has that influenced your creative output?

Yeah, for sure. I try in every album, or at least I will try because this is only my third one, but I try to switch it up. For this one it was nice for this whole process to be focused on identity and where I fit. There was so much going on over these last couple of years and felt like there was an uprising in the city, so it felt like a safe time to do it – and an urgent time to do it. Guyana allowed me to feel more than it just being a metropolis; to see people happy with nothing. It’s a big thing to think that your happiness comes from things, like you don’t have a lot of things and you're happy. It makes me look at all the things I’ve got and they’re stupid, like why do I have these fancy headphones, I don’t need that.

Do you have any travel stories from your time in Georgetown?

There were loads of things that went wrong, like us almost getting attacked by the anacondas was long. But there were more beautiful things that happened. We were an hour or two from Georgetown, and we pulled up to this little church. Some of the town was super DIY, there was no running water or anything and all these kids came out. There were like 30 of them and they walked really neatly into this church group and we were able to shoot there a bit and sit in for it. I was moved because I’m not religious myself, but I was struck by how much community, faith and acceptance there was in such a small place. These people have nothing to my eye of what I would want to have to feel peace and serenity.

Stupid things happened as well though. We pulled up to this strip right by the sea and they have parties on the street out there where all these cars pull up with loads of different sound systems in the back. There was a big white van which had bare speakers and we tapped in like, "Yo, can we get on the aux." We ran the tune a couple of times, spun a couple of other tunes and people started coming over. It was chaos! It was jokes 'cause we were across the road from someone who was playing something else as well, so we were battling – not seriously, like a Red Bull SoundClash kind of way, it was peaceful. It was nice 'cause we were given pieces of our culture; they’re getting gassed to listen to drill and trap and they’re showing us what’s out there. It was a meeting of two worlds and it was sick.

Probably just curry goat, I love curry goat I feel like it’s a naughty thing to eat because it’s red meat. But out there it was crazy, it's sick. They cook it with the bones 'cause that’s where the flavour is but then this place we were at, called Shanta's, you can get it where they take all the bones out and then they strip the meat. The bones are long, like I don’t mind if I got them, but it felt like a Michelin star experience which I'd never experienced with curry goat before.

Are there any lessons or rituals from Georgetown that you’ll take with you?

Don’t get ice when you get water out there! That’s what I'd take. It fucks with your belly. We’re spoilt here in the Western world so there were definitely parasites eating my guts after I drank water. We all went out for food and everyone came back to the hotel and got a beer, but I don’t drink so I was like, "Haha fuck you guys, I’m a healthy guy," so I started eating the ice but instead the ice started eating me. So definitely no ice!

Watch the Music Video 'Georgetown' Here.

Loyle Carner On His Trip To Georgetown, Guyana

Microtrends come and go, but some persist throughout pop culture for far longer. Over the last few decades, various new art forms have entered the mainstream and segued into the next. While trends are fleeting, nail art has proven its enduring popularity.

WATCH HERE

, a new series from Trippin and All Corners, uncovering the forgotten roots of today's pop culture trends. 

Today’s nail art trends are not limited, with 3D nails being the latest evolution that’s gained popularity around the globe for its “

”, as well as water droplets to chrome and pierced nails. Celebrities have been showing off their innovative claws on the runway and across the scene. Megan Thee Stallion has been seen sporting snake skin jelly nails by artist Coca Michelle at the 2023 MTV Music Awards; there’s Lizzo’s go-to 3D manicures and Billie Eilish opting for the grunge aesthetic with heavy diamante and neon looks.

Nail art has become a token of creative empowerment and femininity. However, where did the culture of bedazzling nails come from and how did it become ingrained in the everyday?

Nail art has, in fact, been around for centuries, and it’s been a powerful tool through which women have created their own definitions of femininity. For many cultures around the world nail art has held a deep cultural significance; from its rise in popularity in Latin American regions, who take pride in their beauty standards and view vibrant nails as ‘

’, and the influence from Japanese culture bringing ‘kawaii’ nails into the scene in the 90s and birthing textured and 3D nails through the Harajuku fashion movement, to its initial popularity rooting from the Black community. For Black women, “nails sit at a unique crossroads of race, gender, class, and immigration”, Simedar Jackson explains in her 

. In spite of the negative controversy, cultures around the world have elevated the art form through different heritage-influenced styles.

 can be traced as far back as 3000 BC in ancient Egypt. Before nail varnish, herbal potions were used to polish the nail and henna was used to decorate both the nails and hands. The richer the colour and embellishments, the higher an individual’s social status. Red painted nails signified wealth, while “lower ranking” women were only permitted to wear pale, pastel shades. Symbolically, red nails represented lifeblood and power; therefore, Egyptian queens like Nefertiti and Cleopatra would paint their nails a deep red as a symbol of their royal status, fertility and sexual appeal. This symbol was incorporated into the mummification process of pharaohs too, who received henna manicures to increase their chances of entering the afterlife with all their strength.

Long nails have always been a sign of luxury and wealth. In China, during the Qing Dynasty from 1644 to 1911, noble men and women grew their nails to show they did not have to work or use their hands for manual labour; it showed others that they had servants to feed and dress them. This led to the invention of the earliest recorded artificial nail guard, known as ‘hu zhi’, by Emperor Kangx. Finger covers were made from metals, shells or jade and decorated in precious stones. These covers measured up to six inches in length.

Florence Griffith Joyner and America’s Obsession With Her Nails

Along the way, nail art became a trend that was “repackaged in whiteness”, as declared by former 

. In the 70s and 80s, nail art took on a new lease of life after being co-opted by Black communities.

Athlete Florence ‘Flo Jo’ Griffith Joyner holds the record as the fastest woman in the world, but her achievements were overshadowed by the media’s criticism around her signature nails. These were long and jewelled; described as “dragon-lady fingers” and sneered at by the white middle-class community and media. Joyner’s nails were a symbol of empowerment and ferocity on the track, intimidating her competitors. In 

 written by Lynchburg College Sport Management Professor Lindsay Pieper, she wrote that Joyner was “treated as an Olympic abnormality, through subtle signifiers of racial difference”. Pieper noted that “the reinforcement of Blackness as the cultural ‘other’ was fostered through the mediation of Griffith Joyner’s nails and clothing choices”. Even after Joyner’s death, her legacy continued on via the popularisation of nail culture within hip-hop.

Enduring Popularity in American Hip-Hop Culture

The 70s to 90s saw hip-hop icons define their own forms of self-expression and beauty ideals through nail culture. Icons like Janet Jackson and Missy Elliot sported elaborate nail art, and Lil Kim wore money-inspired nails in her 1996 video for 

. Lil Kim’s nail artist, Bernadette Thompson, received an award at the MoMa in 2017 for her designs – a recognition of nail art’s significance in hip-hop culture.

Modern day influencers have been accredited as the creators of certain nail trends; there’s Hailey Bieber’s and Kylie Jenner’s ‘inspired’ airbrushed nails, for example, or Kim Kardashian’s ‘

’ pierced nails, which had first been worn by Janet Jackson in Busta Rhymes’ music video 

 in 1998. Therefore overshadowing trends that Black women have

Long elaborately designed nails were faced with criticism, as founder of Finesse Your Claws, Melissa Samuel, explains: “When it’s on a Black woman, it’s seen as ghetto. Now, when it’s on [someone else] it’s trending and high fashion.” Writer Asia Milia Mare highlighted in 

 that for anyone outside of the Black community, this “white-washing of a nail style that gained momentum from women of colour, shows how easily Black women are erased from the narrative.”

, explains how they’ve tried to build a community that celebrates hip-hop’s influence on nail culture and its roots in the Black community, through “specific posts that pay homage to Black women like Patti LaBelle, Foxy Brown, Lil’ Kim and Missy Elliot. These are women “who kept their nails done to remind followers and the larger community that Black women have been at the centre of the nail conversation for decades.”

The cultural resurgence of nail embellishments has now contributed over £30bn to just the UK’s economy alone, making it a modern and powerful fashion trend.

n Instagram for more cultural analysis on trends around the world.

How Nail Art Became a Symbol of Female Empowerment Across the World

 is a visual spectacle that invites viewers to dive into the avant-garde. 

The Kochi-Muziris Biennale is the largest showcase of art in South Asia, materialising every two years to bring together a global community of creatives, curators and art enthusiasts.

The Kochi-Muziris Biennale is an impeccably curated journey into the heart of contemporary expression. It’s here that you can view towering, site-specific installations woven from bamboo; videos focusing on the topic of refugees living across the Malabar Coast; or black-and-white photographs of the Tibetan resistance. Beyond the captivating exhibits, the biennale hosts a range of experiences, offering an intriguing programme of discussions, seminars, film screenings, musical performances, workshops and educational initiatives. More than an art event, attendees are invited to explore the cosmopolitan area of present-day Kochi too and its historic predecessor, the ancient haven of Muziris.


Last year’s edition faced criticism around management and funding issues; in short, the scale of the biennale couldn’t be achieved due to financial constraints. The festival issued a public apology, ensuring institutional changes would take place this year. If previous editions (bar the 2023 chapter) are anything to go by, we can expect yet another spectacular showcase of forward-thinking visuals.

Details of the 2024 event are yet to be announced.

The temperature ranges from 23 to 32°C. December heralds winter in Kerala, offering a refreshing escape with cooler temperatures and lower humidity until February. As misty glades unfold, the enchanting transformation of beaches in Kochi and tea-draped mountains beckons intrepid explorers to immerse themselves in the diverse wonders of this lush paradise.

While the implementation of Braille at the Kochi Biennale is a positive step towards inclusivity, there is still much work to be done to further enhance accessibility. By recognizing the progress made while acknowledging the areas that require further attention, the Kochi Biennale can continue striving towards its goal of ensuring that everyone can fully participate and enjoy the cultural richness it offers.