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london mag

Short Story Competition 2015

In its continuing search for new voices in contemporary writing, The London Magazine is pleased to announce the opening of its annual Short Story Competition. Established to encourage emerging literary talent, the award provides an opportunity for publication and recognition, as well as rewarding imagination, originality and creativity. The London Magazine is looking for unpublished short stories under 4,000 words from writers across the world. The winner will be published in a future issue of The London Magazine. The runners up will be published on our website. The winners will also be invited to a reception in early 2016.

Entry fee: £10 per short story (there is no limit to the number of entries you can submit)

Opening date: 1st September 2015
Closing Date: 31st October 2015

1st Prize: £500
2nd Prize: £300
3rd Prize: £200

2015 Judges:

Susan Hill

Susan Hill has been a professional writer for over 50 years. Her books have won the Whitbread, and John Llewellyn Prizes, andthe W. Somerset Maugham Award and been shortlisted for the Booker Prize. Her novels include Strange MeetingI’m the King of the Castle and A Kind Man, and she has also published autobiography and collections of short stories. Her ghost story, The Woman in Black, has been running in London’s West End since 1988.


Kekevanmanwaringvan Manwaring

Kevan Manwaring is a writer of fiction and non-fiction. He is currently working on a Creative Writing PhD at the University of Leicester. He also lectures in creative writing for the Open University and the University of Portsmouth.



Alessandro Gallenzi cropAlessandro Gallenzi

Alessandro Gallenzi is the founder of Hesperus Press, Alma Books and Alma Classics, and the successor of John Calder at the helm of Calder Publications. As well as being a literary publisher with almost ten years of experience, he is a translator, a poet, a playwright and a novelist. His collection of poetry Modern Bestiary – Ars Poetastrica was published in 2005 to critical acclaim.

Alternatively, you can download an entry form to fill in and post with your entry. (N.B. There is no need to complete an entry form if entering via Submittable)

word doc: download

PDF: download

Please read our competition rules carefully before entering.
If you have any questions, please contact Rachel at
To receive competition updates and all the latest news and offers, sign up for The London Magazine‘s Official Newsletter.  
Follow us on Twitter and Facebook for updates.






October 23, 2015

October 23, 2015




Seinabo Sey 06






Anchored by one of my favorite singles of the year, “Hard Time,” Seinabo Sey’s debut record Pretend is a truly ambitious pop record. With soulful eclectic production, and Sey’s personal songwriting and vocals, the songs are deceptively simple, but contain incredible depths.



By Nathan Leigh, AFROPUNK Contributor


“Nothing comes without pain,” Seinabo Sey sings on the infectious “Who.” It’s posed as a piece of Polonius-esque advice; well-meaning and intended to be immediately dismissed. “Who do you think you are?” She responds to her well-meaning would-be inner-critics. Nevertheless, the best songs on Pretend are the ones that come from pain. “What would the world be if we let it be just fine / what would a smile be without a tear some time?” She sings on “Easy,” a massive electro soul anthem. Her voice reaches for uplift in denial of its own sorrow. When that conflict hits, the album truly comes alive.

Though a few of the ballads come a little too close to Top 40 formula, songs like “Ruin” and the room-filling “Burial” refuse to blend in. The album-closing 1-2 punch find Sey at her most bombastic and theatrical. It’s a place where she sounds most comfortable. On bonus track “Pistols At Dawn,” her voice descends to Grace Jonesian depths to powerful effect. It’s ironic that when unconstrained by the tame expectations of modern pop, Seinabo Sey consistently delivers her best songs.

Pretend is out now worldwide everywhere good music is sold.




OCTOBER 23, 2015

OCTOBER 23, 2015




Seinabo Sey photographed by Patricia Reyes.


Seinabo Sey writes dark pop songs about searching for identity. On her debut album, Pretend, the singer-songwriter draws on her experiences growing up between Sweden and Gambia to craft bare-souled songs aided by lush, ambitious production from Magnus Lidehäll, a producer who has worked with Madonna, Katy Perry and Mapei.

Below, we speak with Seinabo Sey about the Gambian influences on her new album and get a first listen of St. Lucia-born, London-raised producer Poté’s remix of her single “Hard Time.” Pretend is available today on Universal Music.

Okayafrica: Tell us about your Gambian background. Your father was also musician?

Seinabo Sey: My father was Gambian/Senegalese and worked as a musician for most of his life. A large part of my childhood was spent around him and his musician friends in both Sweden and Gambia. He never really sat me down to teach me about music. Most of the things I’ve learned came from watching him on stage and in rehearsal.

What would you say are the Gambian or African influences on Pretend?

Gambia has definitely inspired the way I write and what I write about. I’ve got countless good one liners about life from uncles and aunts. I love that tradition of listening to your elders and passing that knowledge and wisdom on.

Being born in Stockholm and having moved between Sweden & Gambia, how do you identify yourself?

I’m Gambian. That’s where my heart is. But the older I get the more I realize that I’m definitely a mix of my two origins. I’m somewhere in between and I love it. I love the challenge and the freedom of creating my own traditions and way of living.

How do you reconcile your European and West African backgrounds in your songs?

I try to think about it as little as possible when it comes to the music. Just let things flow. I think about it more actively when it comes to artwork and music videos because I feel that the representation of African beauty is far too one-sided in mainstream media.

Seinabo Sey photographed by Patricia Reyes.


What would you say are the direct musical influences on Pretend?

It’s all a mix of the people that have inspired me true out my life from my father to Beyoncé. From Luciano to Kate Bush.

What would you like listeners to take away from this album?

I want to empower and make you feel like you’re not the only weirdo in this world. I want you to feel like everything is going to be ok.











October 23, 2015

October 23, 2015














Today we’re premiering the new video from Berlin based folk singer songwriter Tokunbo. The visual is for her her new single, ‘The Ballad of Joe & Irene’, and features powerful photos of African Americans during the Victorian era. Tokunbo (of African and German descent) tells us: “Growing up as a black teen in Germany, I felt a strong lack of role models, both as a black person as well as a woman. Spending a year in the US with an African-American family as a youth consequently had a big impact on my identity, as no other experience would. It was during this time that I was introduced to the works of Maya Angelou, Toni Morrison and Alice Walker and also saw movies like ‘Waiting to Exhale’, ‘The Best Man’ and ‘Brown Sugar’. I was fascinated. Up till then I had never seen a film with an all-black cast. These impressions and images stuck with me over the years and came back to me when I began working on the concept for the video for my song ‘The Ballad Of Joe & Irene’.”

She adds, “‘The Ballad of Joe & Irene’ is a song from my album ‘Queendom Come’. It’s a tale of a love through the decades. When I wrote the song, strong visual images came to my mind; a movie was playing in my head already. The video I created for it unravels its poetic beauty through original photo portraits of black people of the Victorian era. I instantly fell in love with the regality of the photographs. Finding them was a dream come true, presenting me with the opportunity to break with clichés about black people widely spread in Europe, and to show an aspect of black culture that is not commonly associated with it here. My album’s title song ‘Queendom Come’ sums up my personal credo, which is that we each can create our own realm and be our own stronghold. The realization of the video for ‘Joe & Irene’ is another step on my quest.”


By Alexander Aplerku, AFROPUNK Contributor


Tokunbo_press 01

(Photo credit Anne de Wolff )

(Photo credit Anne de Wolff )

(Photo credit: Ralf Synowzik)

(Photo credit: Ralf Synowzik)


Tokunbo’s Upcoming Tour Dates 

30.10.15 P-Castell Branco, Cultura Vibra  
31.10.15 P-Caldas de Rainha, Caldas Nice Jazz 
01.11.15 P-Lissabon, Centro Cultural de Belem  
06.11.15 Köln, Musik in den Häusern der Stadt  
07.11.15 Bonn, Musik in den Häusern der Stadt  
13.11.15 Bad Hersfeld, Buchcafé 
18.02.16 Kassel, Theaterstübchen  
23.04.16 Bremen, Jazz Ahead Club Nacht 
25.06.16 Neumünster, Altes Stahlwerk 


Song/Video Credits

‘The Ballad of Joe & Irene’ written by TOKUNBO
Produced by Matthias Meusel & Ulrich Rode
From the album ‘Queendom Come’
Video created by TOKUNBO
All photos creative commons
TOKUNBO (vocals)
Ulrich Rode (guitar)
Christian Flohr (bass)
Matthias Meusel (drums)
Anne de Wolff (accordion)
Michael Nass (piano)


tokunbo 01


photo by Alex Lear

photo by Alex Lear




I Am A Citizen 

In The Country Of Your Smile



I was looking for myself, confused 

By the store-bought maps

None of which led directly to me

All the interstates had curious detours

Some straight through your heart


One or two were back roads

Small moments—no, not mini-malls

But one room country stores

Everything from chicken feed to calico cloth

Candy and pickled pig feet in big glass jars,

A catalogue for ordering from elsewhere


I lay listening to your breathing

My head between your breasts

My lips longing to suck your relaxed nipples

To erectness, that taste moving my tongue


My hands exploring everywhere

An amateur urban planner mapping layouts

For a futuristic city of light and love


You open your thighs and say you need beaches

On the borders and kisses in the nether regions

Plus, you tell me: “you must volunteer to share 

All chores, soap and water have no gender

Brooms nor mops have genitals

And if you don’t want to, I don’t want you to

We can agree to disagree but fighting is forbidden

There may be war in the world 

But there will be peace in this village


Think about who I am 

Before you say what you want us to be”


I paused, I listened, I surrendered

Happy with the terms of agreement

I sincerely pledged allegiance


—kalamu ya salaam





October 12, 2015

October 12, 2015



Black Death:

Gore, Geographies

and the Gallows

in Jamaica




blk death 01

One evening, on a road in Jamaica, a soldier belonging to the “Mulatto Company” made his evening rounds. He came upon a black man in the woods. The soldier called for his attention. Receiving no answer, he killed him.

Upon closer inspection, the man was identified as a “new negro” gathering wood to sell in town. Death was not the end for the “negre nouveau.” Once he was dead, his body was placed in a cage hung from a gallows planted at a busy intersection in town. His body remained “for all to see” at that crossroads–somewhere between Montgomery’s Corner, near a road named Rockport, and close to One Mile Stone. After two years, he/it was called ‘Fortune,” and the black men, women, and children who passed treated the body as a relic, an item with spiritual powers or import.

Geneva-born antiquary Pierre Eugène du Simitière created the sketch and scribbled the story sometime between 1757 and 1774 during his travels between Jamaica, Saint-Domingue, and North America. The image and more is available at the Library Company of Philadelphia. Pierre Eugene du Simitière’s collection is a puzzle. Du Simitière remained preoccupied with revolution, revolt, and resistance (including maroons’ resistance in Jamaica, slave resistance in Saint-Domignue, and Native resistance and negotiations with British and American delegations in North America) throughout his life. However, if his collection is the evidence, du Simitière was also preoccupied with the occult, arcane, and gory required to make and unmake empire. This image, his hasty creation of it, and the subject matter itself suggest he found the crossroads of both in the decomposing body of a black man from Africa.

I’ve more questions than answers about what this display of death meant, then and now. As Marcus Wood noted, in a short essay on the same sketch, the man who would become a body called Fortune was likely a slave recently arrived from the continent, hence the slaveowner parlance of “new negro.” He may or may not have been killed because he did not understand the “Who goes there?” shouted by the mulatto soldier in his direction. He also may or may not have been a slave. He may have been a Jamaican maroon or a runaway making a new life for himself far from his former owners caught away from camp.

And who was the soldier who fired his gun? Imperial officials in Jamaica organized units of men of African descent to staff military, police, and related security and surveillance operations. Jamaica wasn’t alone. Across the Caribbean, Central and South America “Mulatto” and “quadroon” martial units appeared out of necessity and convenience, sparked by three phenomena: spreading gran orgrand maroonage or long term escape from plantations; decreasing white European and creole (American born) colonial populations as white migrants died, deserted, disappeared, or simply rebuked local militia service; and official decisions to offer freedom to slaves in return for their enlistment. What relationship did this soldier have to the spectacle of death, an excess that would infuse the body of a man with spiritual resonance, transform him from human into an act of nature? What did the same excess transform the soldier into?

I suspect Du Simitière captured a confrontation between two black male geographies. And geographies–ideas of them, maps in hands and heads, differential ways of viewing a landscape–portend intellectual histories told and telling.

On the one hand, we have the geography of maroonage or trails through the forest invisible or ignored by slave patrols but visible to slaves seeking exchange economies beyond slaveowner and overseer gazes. The path in the forest where the best and driest wood could be found. The quickest route to town to sell provision ground harvests. The night road taken to visit the beloved on neighboring plantations.

On the other, we have the geography of freedom in a world of slaves, or the path walked by free people of color (and free status aspiring slaves) that marched them into militia lines against runaways, launched them into battle against enemies of empire whether those enemies came in the form of Native resistors or insurgent white colonials, and secured them property, marriages to women, and other rewards of free status–until the next imperial war changed the rules.

To judge by the confrontation between these two geographies, where the twain shall meet shall end in death–and not the soldier’s. Or does it? Fortune lived on, as a gesture of imperial power, to be sure, but also as a holy item on display as warning (and, perhaps, guardian?).  Depending on the diasporic systems of belief at play, did he die–or did he return? And by the same standards, did the soldier truly live on? Or does freedom–black, patriarchal, and with its hands on a gun–always end in death, at least in a world of slaves?




October 21, 2015

October 21, 2015




The student uprisings

in South Africa



by Vito Laterza



Police firing teargas at protesting students on Parliament grounds. Image Credit: @LionelAdendorf on Twitter

Police firing teargas at protesting students on Parliament grounds. Image Credit: @LionelAdendorf on Twitter

Waves of still ongoing protests (it has morphed from #FeesMustFall to #NationalShutdown) have brought to a halt several universities in South Africa – Wits University, University of Cape Town, Fort Hare, Rhodes and Stellenbosch have all been affected and students from other universities are joining the movement every day. At last count fourteen campuses were closed. (The protesters have now moved to South Africa’s Parliament and at the time of writing had broken through Parliament’s gates, marching with hands up before being shot at with teargas and stun grenades) The issue of student fee increases, and more generally the exorbitant cost of higher education for the average South African, have become the catalyst for the unrest. Demands for racial justice and concerns about economic inequality are coming together in a powerful call for change that cannot be ignored or easily dismissed.

Protesters draw on sustained efforts in recent months to build a national movement committed to transformation of university staff and students, and widening access to higher education. The current system continues to exclude most black South Africans and other historically disadvantaged groups.

On social media, Wits University’s Professor Achille Mbembe, who has written critically as well as publicly engaged with the student movements, has made an important point about the need for protesters to focus their attention not just on universities’ management, but also the state, envisaged as a key locus of decision-making in these crucial areas.

Other questions however seem to be less debated. Are we sure that it is just a matter of channelling demands to the ‘right’ institutional structures? Why would the state be any more effective than university executives in addressing the root causes of the unrest? Government elites’ collusion with big capital and white interests can hardly be disputed. After all, this was the basis of the negotiated transition to a post-apartheid order in the early 1990s.

There is a great potential in these protests, which might or might not be harnessed by the participants. It is the opportunity to bring together people from different sectors of society who feel the brunt of discrimination and disadvantage. On the whole, they have been unable to break through a sophisticated governance system that privileges ‘divide and rule’ tactics, and fosters fragmentation along racial, ethnic and class lines.

Protesters’ requests include the end of outsourcing of all university personnel – cleaning staff is one such example, fetching very low pay under precarious contracts. Outsourced workers have already started to join, showing that a broader convergence of interests is a real possibility. (For example, 3 of the 23 people arrested at UCT on Tuesday where workers. At some point campus security and a bus shuttle service drivers also joined the protests)

This alliance would give university students the role of ‘spokespersons’, articulating demands for racial and economic justice coming from across the country. From informal settlements and townships to disenfranchised rural areas, people have been expressing discontent with their conditions in their own specific ways and contexts, and are calling for change. Their voices remain largely unheard in a national debate dominated by a strong bias towards university-educated citizens – that’s why university protests attract widespread media attention and can have a significant impact on policy-making.

A narrow path focusing on representation in current state structures is certainly desirable as a first step towards systemic change. But it is not enough to address the root problem. The vast majority of South Africans are excluded from meaningful participation in the national economy and society, through a mix of racial and class discrimination that is often covered up under the guise of apparently democratic and inclusive processes.

The student movement can contribute to the formation of grassroots participatory structures that would form the basis of a new dispensation emerging from the ashes of the apartheid system, and its neoliberal post-apartheid successor. The ongoing economic slow-down in the country will increasingly expose the inability of the current state-capital deal to deliver for most people.

It might be time to bring together debates that mainstream media have conveniently kept separate – land reform, public control of the mining sector, and access to and transformation of higher education, to name a few. Ideas about resource nationalism could be easily extended to the realm of higher education. A new agenda for an ‘intellectual’ resource nationalism that brings universities under public control would be one way out of the current impasse.

This cannot however be reduced to top down intervention by a state dominated by the same private interests that hinder transformation and access at the level of universities’ management. Efforts at transforming higher education need to work in parallel with a sustained transformation of state structures. Such a wide-ranging programme of action can only be carried out by a broader social movement that pursues the interests of the excluded majority, and is willing to stand up to the attempts by big capital and the upper-middle classes to keep things as they are.

Neoliberal policies and principles around black economic empowerment have clearly failed to deliver change and cannot be the blueprint for future higher education policies. It is time to rethink the relationship between state and capital, and to reclaim the space for a participatory democracy that puts public control and regulation of markets and services above private interests.





October 21, 2015

October 21, 2015



From The Frontlines

Of South Africa’s

Student Protests


by Imraan Christian 


students 01 students 02 students 03 students 04 students 05 students 06 students 07 students 08 students 09 students 10 students 11

South Africa's #NationalShutDown on Wednesday, October 21, in Cape Town All (Photos: Imraan Christian)

South Africa’s #NationalShutDown on Wednesday, October 21, in Cape Town (All Photos: Imraan Christian)

Today, what started as a student-led protest of tuition fees at the University of Witwatersrand (Wits) in Johannesburg last Wednesday, became a nationwide day of mass action in South Africa. Imraan Christian was on the frontlines in Cape Town. Below is his unfiltered account from the #NationalShutDown.


Today, students across South Africa held a nationwide shutdown of universities in protest of the 10.8% fee increases proposed for next year. In Cape Town, students from the University of Cape Town, Cape Peninsula University of Technology and University of the Western Cape, along with supporters of the student movement, mobilised and conducted a peaceful protest outside parliament in preparation for Blade Nzimande’s address, which was scheduled for 2pm.

Instead, we were made to wait an hour, then we were met with what I would describe as a military operation conducted by the South African Police Services, taken straight from the days of Apartheid. DIVIDE – INTIMIDATE – BRUTALIZE. In gangs of policeman, they beat our sisters to the ground, trampled their defenseless bodies, threw stun grenades, smoke grenades, pepper spray, and cordoned off the students into smaller groups so that they could fuck us up even more. In order to disperse the crowd, the police, now on motorbikes and armed with guns with rubber bullets, set off on a path of what can only be described as sadistic police brutality.

We are unarmed, intelligent students who understand that if we allow fees to go up by 10%, then in ten years time, fees will be doubled, and blacks will become uneducated cheap labour- once again, fit only for building the palaces of white supremacy.

Blade Nzimande – You will answer for your actions against us. You cannot run. You cannot hide.

South African Police Services – Most of you pigs were black, and you brutalised students who were fighting for the education of your black children. At the end of the day you are a person, so every time you look at your own children, I hope the memory of today haunts you and you go to your grave knowing you are owned by the white devil; in this case- the Devil just happens to be Blade.

To my sisters, you are the leaders of the revolution. I am honoured to have stood by your side today. You are all Lion Queens, you are our future.

To my brothers, the connection of fire is so strong, I can feel it flowing as I type this. I have only true love and respect for each and every one of you.

My heart goes out the the students who were arrested by police and are still being brutalised, please share this message so that we can put pressure on South African Police Services to release them.

I’m not even a student. I graduated from UCT last year. I was at the protest as a journalist for Okayafrica, but because I’m young and black, 4 of you pigs thought it’s appropriate to fuck me up as a gang- and I’ll give it to you, you got me good. But now it’s my turn, and I’m gonna kick you hard in your poes.



–Imraan Christian









October 21, 2015

October 21, 2015





Array Releasing’s


(Lauded South African

Coming-of-Age Drama)

By Tambay A. Obenson | Shadow and Act



Array - AYANDA

Array – AYANDA


Just over a month after the distribution collective announced its
re-launching, along with what will be its next two releases
(“Ayanda” and “Out of My Hand”), Array Releasing has now
set a Fall 2015 special “double feature theatrical experience”
that will include both pickups, kicking off on November 13 in
Los Angeles and New York City, followed by a national tour to
include Atlanta, Philadelphia, Washington DC, Seattle, Houston
and Boston.
Directed by South African filmmaker Sara Blecher, “Ayanda”
is set in the vibrant, Afropolitan community of Johannesburg’s
Yeoville, and tells a coming-of-age story of a 21-year-old
“Afro-hipster,” who embarks on a journey of self-discovery,
when she has to fight to save her late father’s legacy – a motor
repair shop – when it is threatened with closure. She’s thrown
into a world of gender stereotypes and abandoned vintage cars
once loved, now in need of a young woman’s re-inventive touch
to bring them back to life again.

The film stars Fulu Mugovhani and Nigerian actor OC Ukeje,
with a star-heavy South African cast that includes Ntathi
Moshesh, Kenneth Nkosi, Jafta Mamabola, Thomas Gumede,
Sihle Xaba and veteran star of stage and screen, Vanessa Cooke.

This is director Sara Blecher’s follow-up to her critically-
acclaimed “Otelo Burning” (covered quite extensively on
this blog), which premiered in 2011.


Ahead of “Ayanda’s” November 13 debut, an Array release
trailer for the film is online and embedded below; followed
by upcoming theatrical playdates for the film.


Opening dates for both films are as follows:

Starting 11/13              Los Angeles                Downtown Independent

Starting 11/13              New York                    Imagenation RAW Space

Starting 11/18              New York                    Schomburg Center for Research in Black Culture

And here are the one-night tour engagements:


11/13               Washington DC           Smithsonian Institute’s National Museum of African Art

11/14               Atlanta, GA                 Georgia Pacific Auditorium presented by Bronzelens

11/17               Philadelphia, PA          African American Museum presented by Reelblack

11/19               Houston, TX                Houston Museum of African American Culture

11/22               Montgomery, AL         Pure Art Literary Café

11/24               Seattle, WA                 Ark Lodge Cinema

12/01               Calabash, NC             South Brunswick Islands Center

12/05               Boston, MA                 Reel Life Experience at Arts Emerson

12/05               Greensboro, NC         The Artist Bloc








Call for Submissions

—Afro-Cuban Artists:

A Renaissance Choco



The Department of Romance Languages and Literatures at the University of Missouri has sent out a call for proposals for an international interdisciplinary conference entitled Afro-Cuban Artists: A Renaissance. The deadline for submissions is December 15, 2015.

Afro-Cuban Artists: A Renaissance is an international interdisciplinary conference hosted by the MU Department of Romance Languages and Literatures. This four day event will be of interest to scholars, and students, as well as creative artists working in the African Diaspora, Cuban/Caribbean /Latin American arts, art history, history, culture, religions, ritual, performances, gender or ethnic studies. The conference will explore various topics related to the aesthetics, socio-cultural and political antecedents, context and impact of the Afro-Cuban artists who came of age after 1959.


Three leading contemporary Afro-Cuban artists, Manuel Mendive (1944), Eduardo “Choco” Roca Salazar (1949), and Santiago Rodríguez Olazábal (1955) will be present and hold exhibitions in Columbia, Missouri, during the conference. In addition, Mendive will present a performance with painted bodies. Documentaries by Juanamaría Cordones-Cook examining the artists’ life and work will be screened.

Proposals for presentations of papers and visual performances are welcome on topics related, but not limited to: arts and race; African Diaspora arts in Latin America; ethnicity and visual interpretation; aesthetics and religion; dialogue between the arts; the magic space of image, ritual, and art performance; institutional organization and art production; performance of Africanity in the visual arts; collaborative art production; and art and social and political contexts.


The deadline for submission is December 15, 2015. Anyone wishing to present a paper may submit a proposal online at Each presentation will be limited to 20 minutes. The proposals will be peer reviewed. Applicants will be notified by February 10, 2016. Approved presenters must confirm their attendance by registering for the conference no later than March 1, 2016.  The conference fee is $125.00, which includes presentation of papers, admittance to the exhibitions, performances, and film screenings. Student fee is $70.00.

The website will be updated after November 15 and will provide further conference information.

For content information, please contact Dr. Juanamaría Cordones-Cook, Project Director

Image above: Santiago Rodríguez Olazábal’s “El buen camino” from

Images above: Top: “Caribbean Dream,” by Eduardo Roca Salazar from; second, Manuel Mendibe’s “Se alimenta mi espíritu” from ; and third, Santiago Rodríguez Olazábal’s “El buen camino” from