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okay africa

MAY 17, 2015






The None on Record team minus Thiam (Juelz Laval, Eddy Mokaya, Yvonne Odour, Jonah Voss) with two interviewees from the Growing Up LGBT in Africa series (Njeri Gateru & Solomon Wambua)

The None on Record team minus Thiam (Juelz Laval, Eddy Mokaya, Yvonne Odour, Jonah Voss) with two interviewees from the Growing Up LGBT in Africa series (Njeri Gateru & Solomon Wambua)

Growing Up LGBT

In East Africa




None on Record is a digital media organization that works to document stories from LGBT communities on the Continent and throughout the Diaspora. Founded in 2006 by Selly Thiam, herself a Senegalese lesbian living in the U.S., the project began as a way of collecting oral histories of LGBT Africans. The organization previously produced a series focused on LGBT Africans seeking asylum in the UK, and in October 2015 they have plans to host a three-day cultural arts festival in Nairobi.

Now, for International Day Against Homophobia and Transphobia today, None on Record conducted a series of interviews with individuals in Nairobi about growing up LGBT in East Africa. In the collection of intimate clips below,PARTICIPANTSranging from an executive chef and a Legal Officer at Kenya’s National Gay and Lesbian Human Rights Commission to the Executive Coordinator of the Gay and Lesbian Coalition of Kenya and Ugandan transgender activist and scientist Cleopatra Kambugu, share their stories of coming out and messages for African LGBT youth. We spoke with Thiam over email about the series and her work collecting stories from LGBT communities throughout the Continent and the Diaspora.

Okayafrica: How would you describe the LGBT experience in Kenya?
Selly Thiam: Kenya is considered a more progressive space for LGBT issues in East Africa. There are conversations (albeit sometimes inflammatory) about LGBT issues on morning talk shows and there are newspaper articles written about LGBT issues that are a bit more balanced than other parts of Africa. Recently the supreme court in Kenya ruled that the National Gay and Lesbian Human Rights Commission could register as an LGBT organisation. That is a huge win. With that said, Vice President William Ruto publicly declared that there is noROOM for gays in Kenya after the supreme court ruling and a national tabloid just published the photos of 100 people they allege are Kenya’s most prominent gays and lesbians. There is still much violence perpetrated against LGBT people. People deal with extortion by police, lack of access to health care and employment. LGBT people face illegal evictions from their homes and being ostracized by families and communities. Some religious leaders add fuel to the fire by actively preaching against LGBT people, calling it a lifestyle, unAfrican and perverse. Still, there is a vibrant LGBT community in Kenya that is becoming more visible everyday. There are active organisations working towards equality, writers like Binyavanga Wainaina making sure that there is a counter narrative being discussed in the larger society. There are films and cultural production happening that are telling honest and powerful stories about LGBT people. LGBT people are making space for themselves and the community is growing and creating a positive impact on Kenyan society.


Okayafrica: What’s the LGBT cultural scene like in Nairobi?
Thiam: There is so much happening in Nairobi. Amazing films being produced, musicians who are LGBT putting on shows. Poets and writers sharing the LGBT experience. There are parties, terrific social spaces thatEXISTS. Nairobi is a cosmopolitan city and that reflects in the culture scene here.


Okayafrica: How did you find the interview subjects in the Growing Up LGBT In Africa series?
Thiam: We knew alot of people from working and living in the community. It was great to include Njeri because she works with the legal organisation that just won that important court case. It was important to us to include Cleo because she has such an important story about working as a scientist and then being outed as gay, even though she is transgender, in the the Ugandan newspapers. She is a testament to how bad laws impact the lives of LGBT people. I asked Chef Kendi because I eat at her restaurant often. It is a popular spot in Nairobi. The food is amazing and she is out and living her life as an Executive Chef. It was important that we not only include activists but people who are working in different professions and are out and proud.


Okayafrica: Can you tell us some of the history on None On Record?
Thiam: I founded None on Record in 2006 as a documentation project to collect the stories of LGBT Africans. I was a radio producer at the time and began collecting the stories in an audio format. I started in the Diaspora and then collected in South Africa, Gambia, Senegal, Kenya and the project just grew from there. At one point I had over 300 stories from Africans of all walks of life. I came to Kenya to train a group of activists on digital media and documentation in 2010. After that training about four activists said they wanted a more sustained digital media presence in the region. We worked together to found the None on Record office in Nairobi, Kenya and startedPROGRAMMING in 2013. In the first year we focused on training African LGBT activists in digital media and documentation. It is important the LGBT Africans document their stories and narratives. As an organisation we have a strong commitment to teaching and sharing information. In our next year we began to expand our programming–we now have a fellowship program that brings in people from the communities we work in and train to work with None on Record further on productions. We launched our Media Engagement Program that works with journalists in the East Africa region on fair and balanced reporting and we have a culture and innovation program where we bring African LGBT artists and culture makers together.


Keep up with None on Record on Facebook and Twitter







africa is a country

May 19, 2015




How many of you know

Dave Chappelle’s mother

worked for

Patrice Lumumba?


By George Kibala Bauer



Dr. Yvonne Seon

Dr. Yvonne Seon


A lot of us have spent hours laughing at Dave Chappelle’s jokes, but few know about the extraordinary life of his mother, Dr. Yvonne Seon. In a recent interview that aired onTHE INTERNET radio show Congo Life, Seon was asked about her decision to go and work for Congolese independence leader Patrice Lumumba. The broadcast is worth listening too. But Seon’s life also represents a more profound connectivity harbored in the Black Atlantic in the twentieth century especially, which has connected the Congo to North America, and the Caribbean. 

Back to Seon. How she got to Congo is a remarkable story. After earning a BA at Allegheny College in northeastern Pennsylvania, she studied for a MA in political science at American UNIVERSITY in 1960. She also studied French, which would later prove tremendously useful. 

As a student in Washington DC, she was shaped by what she calls “the time of the big change”, marked by the culmination of black liberation in the United States, and on the African continent starting with the independence of Ghana in 1957. By speaking with African diplomats that had began to visit DC, as well as being involved in movements of solidarity such as “Friends of Ghana”, Seon, gained insight into the aspiration and euphoria represented by the prospect of an independent and united Africa. 

Following independence on June 30th 1960, Lumumba, then the newly elected Prime Minister of the Congo, made his first official visit to the United States from July 27-29th. Given an army mutiny, and suspicions over his CONNECTIONS TO Moscow, Lumumba was already under tremendous pressure. However, Lumumba’s visit also entailed attempting to recruit young professionals that would be willing to fill the gap left by the departure of the Belgian colonial administration. Given her mother’s connection to various African diaspora groups in DC, Seon received an invite to Lumumba’s official reception, “serendipity” as she calls it. 

At the reception, one of Lumumba’s aides noticed Seon’s passion for post-colonial Africa, and informed her of Lumumba’s interest of recruiting students like her to the Congo. Seon, at the time aged 21, replied: “I will have to think about that,” but looked forward to meeting Lumumba personally. That very next morning, Lumumba encouraged Seon to accompany him back to the Congo in ORDERto serve as the secretary to the High Commission on the Grand Inga Dam Project, an ambitious initiative which sought to establish Africa’s energy independence immediately. 

Seon’s memory of Lumumba was one of a “decisive leader” that “cared deeply about his people.” On Congo Live she also spoke to the danger Lumumba represented to imperialism worldwide, thereby echoing Fanon and others, in viewing Lumumba’s assassination as the personification of the post-colonial dilemma. 

Seon arrived in Congo following Lumumba’s assassination in 1961. In an interview with IMixWhatILike, Seon says that she had been disappointed that the Grand Inga Dam project ran into similar difficulties faced by Nkrumah’s Volta River project. The three stages of the dam were never fully completed due to lacking investor confidence, and technicalASSISTANCE. (As Congo is currently expected to complete the Grand Inga Dam Project by 2016, the largest energy generating body ever built, one wonders if the Congo River can eventually become sub-Saharan Africa’s engine of electrification.) 

Seon went on to be appointed as chief administrative officer for the Fourteenth General Assembly of UNESCO, the first African American selected for that role. 

Dave Chappelle has publicly acknowledged the extent to which his own work is deeply influenced by his mother: “We were like the broke Huxtables…We used to have a picture of Malcolm X in Ghana …We were poor but we were cultured.” (BTW, Chappelle’s father, William, who was DIVORCED from his mother, was a statistician at Antioch College in Ohio.) 

Though Seon’s biography seems unique, she is but one of a rich biography of cross-Atlantic exchange to the Congo. For instance, Kambale Musavuli, a Congolese activist who presents Congo Live, points to the Presbyterian missionaries, Maria Fearing, and William Sheppard, the latter known in Congo as “Mundele N’dom” (Lingala: ”Black White Man), and whose published work of King Leopold’s crimes in the Congo contributed greatly to international and African American discourses about colonialism. 

Belgium’s “criminal stupidity” and the restriction to HIGHER EDUCATION to a tiny minority of evolué, created interesting pathways of “return”, not only for African Americans, but also for the Haitian intelligentsia. Camille Kuyu, a Congolese historian, and philosopher describes this fascinating CONNECTION in his book Les Haïtiens au Congo. François “Papa Doc” Duvalier’s repressive regime from 1957-1971 resulted in a mass exodus from Haiti. Many sought to move to Congo as agricultural engineers, teachers, and DOCTORS. Raoul Peck, the director of the films such as Lumumba and Fatal Assistance, along with his his family exemplify this dynamic as they found asylum in Congo in 1961. 

Lumumba’s ideology of Pan-Africanism sought to anchor the Congo in the forefront of anti-imperialism, and welcome all of its supporters, but it was challenged by Mobutu’s politics of authenticity. Systems of thought such as authenticité, or direct attacks on foreign ownership such as the Zairization campaign, meant that many arrivals were faced with a new “home” conditioned by the politics of indigeneity, which prompted some to leave, while others continue to live in Congo today

Peck’s, Seon’s and other biographies remind us that home isn’t necessarily a spatial, or rigid concept. Rather than being in a romantic relation to one’s roots, these stories CONTINUE to underline the globality, and interconnectivity of blackness, represented in frameworks such as the Black Atlantic. Movement is the revolt against an assigned peripheral reality, a revolt against a space in which thoughts, doctrines, and individuals are demoted and promoted according to their “willingness to integrate”. Seon said it takes a “specific mindset” to engage oneself in this connectivity. Her, and other legacies, as well as the common obstacles to black liberation world-wide, remind us of the importance of this space of exchange, and solidarity, as an avenue for self-actualization.


George Kibala Bauer is a Congolese-German student of Economics and Political Science at McGill UNIVERSITY





photo by Alex Lear

photo by Alex Lear



memories of death


my first unforgettable death scene was a man’s body all cut up. some man i didn’t know. i had gone to meet my father at his  job a laboratory technician, he worked on the third floor (or was it the fourth floor) at the veteran’s hospital. sometimes he would show us how he mixed chemicals with body fluids, mainly blood or urine. it was kind of fun but not really exciting once you had been there a couple of times. this particular time, i remember i was in seventh grade, and he told me he wasn’t ready to go. often i would go to the main library, which was only a few blocks from the hospital, and afterwards meet my father when he got off from work. on a few occasions i would get there earlier than his getting off time of 4:30pm and would sit around reading until he was ready. but this particular time it was after 4:30. he said he had some extra work he had to do. as most children do, i said, ok.


he told me, come on. follow me. and we got on the elevator and headed to the basement. i walked behind him trying my best to keep up. my father was a fast walker. i’ll never forget his story about walking to new orleans from donaldsonville, louisiana. we twisted and turned through the basement. down this corridor, through that door, into another hallway, through another set of doors. i really wasn’t paying much attention. didn’t read any signs or anything. i didn’t have to. i was following my father.  and then we went through the last door.


and there it was. a corpse. i balked about ten feet away. the naked body was laid out on a big table that had a ridge around it and pans on carts next to it. the chest was cut completely open with the left and right rib cage folded back. a pan with internal organs was next to the torso. and worse yet, the top of the head was gone. i mean completely sawed off. the brains was in another pan. 


i don’t remember it stinking or nothing. my daddy said, you can watch me or you can sit over there. over there was only like five or so feet away. i sat way over there. pulled a book out and buried my head in the book while my daddy started messing with that body. it would have been ok except they were making a lot of strange noises. my daddy was sewing the body back together with a big old needle and thread as thick as twine. when he started putting that man’s head back together and sewing the scalp back over the skull, it made this sucking kind of sound.


i had, of course, been to funerals before and seen bodies laid out at church, but this was my first really memorable experience with death. at that moment, i was de-romanticized about any thing i thought about dead bodies. i realized that for my daddy, death just brought another job he had to do. in fact it was a good job because it paid him overtime.


so this is what happens to you when you die. this is what an autopsy is all about.


between that time and my next memorable death experience i graduated from high school. in fact it was february of 1965, the year after i graduated. and, no, kennedy’s assassination was not a memorable death experience for me. by the end of high school i had been active in the civil rights movement: sitting in at woolworth’s and schwegmann’s lunch counters, picketing on canal street, knocking on doors and doing voter registration work in the black community. kennedy had never been a hero of mine. so here i was up in northfield, minnesota, a small town whose claim to fame was that’s where jesse james did his last bank robbery. the local folk had laid a trap for mr. james and they almost caught him. the james gang was badly hurt in the resulting shoot out and disbanded after that attempt. anyway, i was at carleton college. i hated it there and would leave in less than two months, but i also learned a lot there. 


i was working at the college radio station doing a jazz show. my show came on on sunday nights from 8pm to 10pm, if i remember correctly. part of my job at the station was to get there by 7:30pm and literally rip the news off the teletype. it used to come in automatically and there was this big roll of paper that fed into a box. all the news, weather, sports and whatever. and you had to gather up that long roll of paper and cut it up, or rip it, to separate the items you wanted from the ones you didn’t.


there were only 13 black students at carleton, and 8 of us were freshman, so you know how lonely we were. that particular night, linda, a girl from little rock, was visiting my show. as i remember we were the only two black students from the deep south. and when i started ripping the news, i got the first and all subsequent reports: malcolm x had been shot. dead. linda was crying and my eyes were kind of blurry too. 


at first it was just a line or two, and then later more and more info streamed over on the loudly clattering machine. i’m ripping the news of malcolm’s death for some college  kid to read. i don’t know how much, if any of that news item was read that night on carleton’s radio show, but i was strangely very, very affected by malcolm’s death. i say strangely, because i was not a muslim. i was not a follower of malcolm in the sense of being part of any organization, but i was, like many, many people my age, an ardent admirer. 


why? what was it about malcolm? over the years i have had time to think about it and rather than focus on him, i realize now the focus was on myself and parallels that i scarcely recognized back then, if i saw any of them at all. for one, we both rejected the civil rights movement. 


i remember sitting on the steps of mt.zion methodist church before our weekly n-double a-c-p youth council meeting. we had been the main force picketing and leading the boycott on canal street. after close to a year of demonstrating, the merchants decided they wanted to negotiate. we said, sure. they said, stop picketing and we can talk. we said, let’s make an agreement and we will stop. the merchants balked. in response to the impasse the adult branch of the naacp, then led by the future first black mayor of new orleans, ernest “dutch” morial, instructed the youth council to stop picketing so negotiations could proceed. 


we were adamant. we’d stop when the merchants met our demands. not before. the national office sent down wally moon, one of the main officials to instruct us, stop picketing or we will put you out of the naacp. they didn’t have to tell me twice. i decided to leave. 


for close to two years, the youth council had been my life, consuming all my free time and a lot of my thoughts even when i was in school. i was a few years younger than the leading members, who were mainly college students but they were my gang, whom i hung out with, admired, wanted to be like. 


i sat there on those church steps and finally decided: i couldn’t do it. anyone who has ever, for whatever reasons, abandoned a love can appreciate the pain of this voluntary separation. that was my first divorce. 


malcolm had divorced himself from the muslims. also, malcolm was advocating internationalism and self-determination. i agreed with both. plus, malcolm had been a preacher–well, officially he had been a muslim minister, but anyone familiar with his oratory knew that malcolm was not just a master minister, he was a full blooded, get down preacher who spoke so eloquently both birds and angels hushed their singing while he was delivering the word. amen. 


i had been groomed to hold forth in the pulpit, i knew a thing or two about public speaking, and i knew that malcolm was about the best we had, martin luther king notwithstanding. king had dreams but malcolm had the fire. 


to paraphrase malcolm’s eloquent post mortem, the march on washington had been a picnic. the white man told those negroes when they could march, where they could march, how long they could march and when to leave town, and you know what, they came when the white man said you can come and they said what the white man wanted said and they left when the white man said go! malcolm. malcolm. el hajj malik shabazz, malcolm x.


knowing about the organizers’ attempt to censor the march on washington speech of john lewis, the chairman of the student nonviolent organizing committee, whom walter reuther (of the afl-cio) and others considered too militant was proof to me that malcolm had been right. the sell-out house negroes and their white liberal supporters were emasculating our leadership. i was a young man; speaking truth to power was a sine qua non of my definition of manhood, and in that regard no nationally recognized black leader was more man than malcolm.


plus as an insider, i knew all the stories, tales and gossip about our black leaders–king as a philanderer; this one on the take; the other one married to a white woman; on and on. but  when it came to malcolm there was nothing, and malcolm was so hard on middle class negro leadership, i knew that if anyone had anything on malcolm we all would have been made aware. malcolm was a model of leadership in a category unto himself. and now he was gone.


days afterwards, i tried to find out as much as i could. and when i saw one of the death scenes: malcolm carted out on a gurney, his head back and to the side, his mouth sort ofOPEN, i thought about that body my father had sewn up and wondered would malcolm be cut up like that. my subsequent thoughts were about the men who shot malcolm, how they could do it. death comes in many forms, but for us in the movement, the hardest to confront is the seeming endless cases of black-on-black killings.  


death makes you think. at first you just recoil in shock, but sooner or later, the philosophical aspects confront and confound. malcolm’s murder in particular initiated many hours of trying to figure out what, if anything, i could do toADDRESS, and ultimately stop, black on black murder. i was too young to know how old that particular problem was. fratricide has never been a racial issue, has never been anything but a human issue, and mainly a human male issue.


nevertheless, when your leader and hero dies at the hands of our own, you never forget. i don’t recall what music i played the night malcolm died. despite any nostalgia for my youth and the glory days of seemingly boundless energy and optimism (which two qualities are, after all, the hallmarks of youth regardless of the specifics of any particular time period), despite the fog of memory and the hunger for the good old days (isn’t it oxymoronic that we call the days of our youth “the good old days”?), despite any and all of that, all i remember about that sunday night is malcolm was assassinated. our movement was in crisis. i was in crisis. those were difficult days.


—kalamu ya salaam











Salamander 2015 Fiction Prize

$1,500 Honorarium and Publication

Final Judge: Andre Dubus III

SUBMIT May 1 through June 1, 2015

•  All entries will be considered for publication. All entries will be considered anonymously.

•  Send no more than one story per entry. Each story must not exceed 30 double-spaced pages in 12 point font. Multiple entries are acceptable, provided that a separate reading fee is included with each entry.

•  Please submit a two page cover sheet document with each entry, page one with the title of the story ONLY, and page 2 with the title of the story and your name, address, phone number, and email. Your name should NOT appear anywhere on the story itself.

•  Simultaneous submissions are acceptable, but the contest fee is non-refundable if the submission is withdrawn. Please notify the editors as soon as possible if a submitted story is accepted elsewhere.

•  Previously published works and works accepted for publication elsewhere cannot be considered. Salamander’s definition of publishing includes electronic publication.

•  No handwritten, faxed, emailed, or poorly copied/printed manuscripts will be considered.

•  Salamander will not consider work from anyone currently or recently (within the past 4 years) affiliated with Suffolk university or thePRIZE judge.

•  If you wish to be notified of the arrival ofYOUR manuscript, please enclose a self-addressed stamped postcard. Manuscripts cannot be returned. Contest results will be posted on

•  Contest reading fee includes a one-year subscription.CHECKS should be made out to Salamander. We will send your subscription to the address on your cover sheet unless instructed otherwise. Overseas addresses, please add $10 for subscription postage ($5 for addresses in Canada). Please note that we cannot accept money orders or checks from foreign banks.

Andre Dubus III, author of six books, has been the recipient of a Guggenheim Fellowship, The National Magazine Award for Fiction, and a 2012 Academy of Arts and Letters Award in Literature. His novel House of Sand and Fog was a National Book Award finalist, a #1 New York Times Bestseller, and an Academy Award-nominated film. His book Dirty Love, published in 2013, was a New York Times “Notable Book” and a New York Times “Editors’ Choice” selection. His novel The Garden of Last Days isSOON to be a major motion picture.


2015 Fiction prize

Salamander/Suffolk university English Dept.

8 Ashburton Place
Boston, MA 02108

If questions, send an email to









bomb magazine

BOMB’s Biennial Fiction Contest

Submission Guidelines

  • WINNERreceives $1,000 and publication in BOMB Magazine.
  • Final Judge: Sheila Heti.
  • Submission period: May 1-31, 2015.
  • Reading Fee: $20. Includes aFREE one-year subscription to BOMB.
  • Manuscripts must be fewer than 5,000 words and consist of aSINGLE story.
  • Include aCOVER LETTER with name, address, email, phone number, and title of story; do not write a name on the actual manuscript, as all entries will be considered anonymously.
  • Non-anonymous manuscripts will be immediately disqualified.
  • Simultaneous submissions okay, but reading fee is not transferable.
  • Story must be previously unpublished.
  • Stories must be uploaded via Submittable.
  • Email with any questions.

TheWINNER will be announced on July 31, 2015.










Call for Submissions:

Pacuare Nature Reserve
2015 Wildlife Poetry Competition

wildlife poetry

The Endangered Wildlife Trust runs a nature reserve—the Pacuare Nature Reserve—in Costa Rica, dedicated to the conservation of wildlife including Leatherback turtles and Agami herons. It is now sponsoring a Wildlife Poetry Competition. The firstPRIZE is one week’s board and lodging at La Casa Grande, in the heart of the Pacuare Nature Reserve. The sponsors want to name the winner the poet laureate of the reserve as they aim to establish a long-term relationship between eco-activism / conservation and eco-poetics and poetry. The deadline for submissions is June 15, 2015.

Description: The Endangered Wildlife Trust sponsors of the 2015 Wildlife Poetry Competition are looking for poems of up to 100 lines on the subject of wildlife or the boundaries between the human and the natural. The theme will be interpreted broadly. There is a submission fee of £10 for one poem (and £5 for each additional poem.)

Length: Up to 100 lines.

numberof poems: Up to 5 poems.

Format: Please put your name, age and telephone number inTHE EMAIL and attach your poem/s as a word document. DO NOT write your name in the document that contains the poem.

First prize: One week’s board and lodge at La Casa Grande in the Pacuare Nature Reserve. travel not included – though we are currently working on sponsorship). Worth $840. TheWINNER is elected Poet Laureate of the Pacuare Reserve for one year. They will have the chance to run a poetry workshop with local children on our EnvironmentalEDUCATION PROGRAM. All the poems they write at or about the reserve will be published on our website.

Runners up: 3 runners up will have their poems published on our website. They will also receive a picture postcard,CERTIFICATE, and turtle-tag key-ring with a handmade purse.


Vahni Capildeo: British Trinidadian writer Vahni Capildeo is the Judith E. Wilson Visiting Fellow in Poetry 2014 at theUNIVERSITY of Cambridge. Her books includes No traveller Returns (Salt, 2003), Undraining Sea (2009), Dark & Unaccustomed Words (2012) and Utter (2013), inspired by her time as a lexicographer at the Oxford English Dictionary. Her poetry will be featured in New Poetries VI (Carcanet, 2015). Measures of Expatriation, prose sequences on place and identity, is forthcoming from Carcanet in 2016. A former Rhodes Scholar, Capildeo has worked on Old Norse and translation theory, as well as questions related to postcolonial literature. She has acted as a judge for a number of prizes, including the Forward prizes for Poetry, She is currently finishing a new sequence, Simple Complex Shapes, and collaborating with Jeremy Hardingham on performances focusing on sacrifice, noise, silence, renewal and joy. 

Joseph Minden: Joseph Minden is a poet and guitarist. He recently completed a project called The Polar Musecommissioning poems for the Polar Museum, Cambridge. He is currently working on a project to write, comission and orchestrate poetry/music collaborative pieces about climate change. He has published poems in the PN ReviewThe Junket, Iota, and Magma and in 2013 was the winner of the John Kinsella and Tracy Ryan Poetry prize.

Kat Addis: Kat Addis is a poet and the Strategic Planning Coordinator for The Endangered Wildlife Trust. She is passionate about both conservation and poetry and is writing The Song of The Turtle a ballad about the life of a Leatherback Turtle which will be illustrated.

Send submissions to with the subject line “poetry submission”.

All proceeds go direct to the maintenance of the Reserve and the EnvironmentalEDUCATION PROGRAM.

Click here to pay and write the payment confirmation number in your email.

for more information see