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Support our campaign for the 2nd Annual Haitian Dominican Transnational Film Festival taking place in October 2024!

Support our film festival --> https://givebutter.com/2024noufest/melimelmdad

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NOW ACCEPTING SUBMISSIONS!

So excited to announce the POWER Zine: Volume II - power plays open call for submissions!

Submissions are open for Volume II of the POWER Zine - power plays  We seek submissions for this zine based on the concept of power plays and how it affects our own individual power. The POWER Zine is an ongoing project of the POWER artwork by MelimeL (2008) and the creative writing and art it continues to inspire.

THEME: Volume II of the POWER Zine will focus on concepts of power, its uses and implications. Some ideas/prompts could be a time when you felt powerful or powerless; what does tapping into our own individual power look or feel like? What role does empowerment play in your life?

CRITERIA: Accepting typed or handwritten writing (poetry, short stories, essays, etc), visual art (drawing, illustrations, photography, etc) and more.

The zine will be curated by MelimeL, the artist behind the Power artwork. Submitted works must be original, and ready for inclusion in the zine as is. All selected participants will receive a copy of the zine!

DEADLINE: Monday, June 10, 2024

TO SUBMIT -> Fill out the submission form

Learn more about POWER Zine: Volume I - art inspires, released in October 2021, here

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#womenempowerment In what ways can she change the world in 2024 and beyond? RSVP and join us on Sunday, March 31st from 3-8p at the Brooklyn Navy Yard as we close out Women’s History Month with @ vesta_klozet @ _shewillchangetheworld ✨‼️ It will be a POWERFUL day of art, poetry, and creativity!

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Stop by the @ mldigitalart POWER Zine table for a fun creative writing and art session and an opportunity to participate in Volume II of the ongoing zine project.

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Enjoy an art exhibit, bar & refreshments, poetry, and DJ. Come mingle and support fellow creatives, and get a chance to win some dope, custom Vesta Klozet apparel!

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Although admission to the event is free, attendees will require a ticket for entry into the space. RSVP using the ticket link registration below! We look forward to seeing you there!

[sisstarloop]

FILM SUBMISSIONS

Accepting documentary, short film, narrative, experimental, music video/performance, etc. Deadline for film submissions is April 26, 2024. Learn more about the film submission here

[sisstarloop]

PANEL/ARTIST/PODCAST OPEN CALL --> Inspired by the essay collection The Right to Have Rights and the theory of political theorist Hannah Arendt, the 2nd Annual Nou Akoma Nou Sinèrji Haitian Dominican Transnational Symposium will delve into the underpinnings of rights and their divestment: belonging, disallowance, invisibility, dignity, exclusion, uprootedness, vulnerability.

Dominicans Love Haitians Movement invites artists, performers, panels, and podcasts to submit proposals* related to the aforementioned topics that center Haitian and/or Dominican voices and stories.

DEADLINE --> For consideration, please submit proposals by Sunday, May 12, 2024, 11:59PM EST

*public performances and audio proposals accepted

SUBMIT HERE --> https://docs.google.com/forms/d/e/1FAIpQLSduKrcg57ewgs6Eb2Y3Vqs5mQeE5QFlyqFgCU16ykh1W4tcZg/viewform

[sisstarloop]

NOW ACCEPTING SUBMISSIONS!

So excited to announce the POWER Zine: Volume II - power plays open call for submissions!

Submissions are open for Volume II of the POWER Zine - power plays  We seek submissions for this zine based on the concept of power plays and how it affects our own individual power. Volume II of the POWER Zine will focus on concepts of power, its uses and implications. Some ideas/prompts could be a time when you felt powerful or powerless; what does tapping into our own individual power look or feel like? What role does empowerment play in your life?  The Volume II zine is a continuation of the POWER artwork by MelimeL (2008) and the creative writing it continues to inspire.

CRITERIA: Accepting typed or handwritten writing (poetry, short stories, essays, etc), visual art (drawing, illustrations, photography, etc) and more.

The zine will be curated by MelimeL, the artist behind the Power artwork. Submitted works must be original, and ready for inclusion in the zine as is. All selected participants will receive a copy of the zine!

DEADLINE: Monday, June 10, 2024

TO SUBMIT -> Fill out the submission form

[sisstarloop]

Inspired by the essay collection The Right to Have Rights and the theory of political theorist Hannah Arendt, the 2nd Annual Nou Akoma Nou Sinèrji Haitian Dominican Transnational Symposium will delve into the underpinnings of rights and their divestment: belonging, disallowance, invisibility, dignity, exclusion, uprootedness, vulnerability.

Dominicans Love Haitians Movement invites artists, performers, panels, and podcasts to submit proposals* related to the aforementioned topics that center Haitian and/or Dominican voices and stories.

For consideration, please submit proposals by Sunday, May 12, 2024, 11:59PM EST to: bit.ly/Nou_Open_Call

*public performances and audio proposals accepted

For more details and information on the open call, click here

[sisstarloop]

Dominicans Love Haitians Movement is proud to present its second annual Nou Akoma Nou Sinèrji Haitian Dominican Transnational Symposium theme: “The Right to Have Rights.”While many contend the innate and inalienable nature of human rights, history and the present have shown that the absence of an entity (a country, a nation state, a community, an organization) to effectively uphold them can render this alleged fundamental birthright essentially meaningless. Use of the terms “dignity” and “worth” in the United Nations’ 1948 Universal Declaration of Human Rights was supposedly meant to extend inclusivity to all human beings under blanket phrasing like “all peoples and all nations,” “brotherhood,” and “all members of the human family” but has fallen reprehensibly short. In action, said declaration has been glaringly dismissive of the respective and systematic enslavements, genocides, and apartheids endured by marginalized African and indigenous peoples and diasporas worldwide in the past and present.

Therefore it is not enough to simply possess rights by virtue of being human—those same rights must likewise be enforced and defended. Effectively, this often translates to access to education, health, and civic participation, for example, with the facilitating entity serving as a gateway. So, what does this mean for those forcibly rendered stateless and those stripped of citizenship who have neither the protection nor the sanction of such an entity? What of those relegated to an existence on the peripheries of a given society as a result of being deemed “other,” “alien,” and thus somehow inadmissible by some contrived standard?

Inspired by the essay collection The Right to Have Rights and the theory of political theorist Hannah Arendt, the second annual Nou Akoma Nou Sinèrji Haitian Dominican Transnational Symposium will delve into the underpinnings of rights and their divestment: belonging, disallowance, invisibility, dignity, exclusion, uprootedness, vulnerability.

Dominicans Love Haitians Movement invites artists, performers, panels, and podcasts to submit proposals* related to the aforementioned topics that center Haitian and/or Dominican voices and stories.

For consideration, please submit proposals by Sunday, May 12, 2024, 11:59PM EST to: bit.ly/Nou_Open_Call

*public performances and audio proposals accepted

[sisstarloop]

Year 2! Now accepting film submissions for the 2nd Annual Haitian Dominican Film Festival! Deadline for submissions is April 26, 2024. See more information at https://filmfreeway.com/nou_festival

[sisstarloop]

🚀 Season 4 of sisSTAR Sip & Share, our award nominated IG Live Series, continues with all new features this month! Our next live is happening Thursday, February 29th at 9:30pm EST! 🌟 Dive into the stories of phenomenal women who’ve carved their paths in business and life. 🎙️✨ This Thursday our chat with @stephaniefleary will inspire the parents looking to heal wounds and improve our relationships with our children.

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Follow @sisstarloop for more Season 4 gems in February 2024! 💎💬 Unleash the power of sisSTARs – don’t miss this empowering ride! All replays will be available in our IGTV!

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🌟 Elevate your journey! Join Season 4 of sisSTAR Sip & Share – where women entrepreneurs and professionals dive into powerful business and life stories. 🚀 See you on the ‘gram!

[sisstarloop]

Beyond Borders: DLHM’s 2023 Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival

By Amanda M. Ortiz

February 16, 2024

Making my way to the midtown Manhattan location where the inaugural Dominicans Love Haitians Movement (DLHM)’s film festival was being held, I was unsure of what to expect but brimming with anticipation. That October morning was the picture of quintessential autumn in New York: crisp, clear, and characteristic of the onset of a season synonymous with new beginnings, all strikingly reflective of my own mindset heading into the three-day event. A labor of love for the organization, the Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival was to showcase a medley of primarily Dominican- and Haitian-helmed films all speaking to DLHM’s mission of fostering dialogue, enlightenment, and healing with regard to racism, anti-Blackness, genocide, colonization, and statelessness in present-day Dominican Republic and Haiti. And in its consistent approach to doing so through participatory art, storytelling, and performance events that both challenge and engage long-held biases, Nou Akoma Nou Sinèrji was DLHM’s latest undertaking in those efforts. The festival was fittingly taking place just one week following the anniversary of Hispaniola's 1937 genocide that ultimately drove a defining wedge between the island's two nations. And as though to further cement the relevance of DLHM’s mission, purpose, and the event’s overarching message, it also grievously coincided with the blitz of Israel's latest aggression against Palestine.

The very idea of such an event was an utter novelty. Although prevalent Dominican anti-Haitianism is well-known in both communities, the history of its origins (particularly among Dominicans) is not, and the contrast in that knowledge is stark. While generations of Haitians are aware of that history and the genocide’s grave ongoing ripple effects, dominant Dominican perception continues to be largely rooted in downplaying, outright denial, and widespread ignorance. And so, it was unsurprising that I had yet to come across any event that openly addressed that head on, much less one spearheaded by an entity or people of a Dominican background.

Historically, there have likewise been very few Dominican-authored works in English or Spanish that even mention the ethnic cleansing. My own introduction to it happened at 13 when I stumbled upon a work of literature that quite literally changed my life: Edwidge Danticat’s The Farming of Bones. In contrast to present day, at that time, there were sparse Dominican- or Haitian-authored works in circulation in English, let alone by members of the diaspora. Seeing myself or any semblance of my culture or lived experiences in print was virtually unheard of. And yet, it somehow did little to deter my younger self from continuing in my largely fruitless search. Coming across The Farming of Bones the year of its 1998 release changed all that. I was astounded by what I encountered in its pages, a history directly pertaining to me that I’d never heard of or about. For me, it triggered a bevy of emotions: confusion, rage, disgust, heartbreak. Those 312 pages lit a fire in me that would forever color my perception of even those I held dear and what I thought I once knew of my own culture.

It’s with this personal history that I stepped into the festival space that first day. While I didn’t necessarily think the sole focus would be the events of 1937, I attempted to brace myself for the stories and emotions sure to arise from the featured films. Upon arrival, I checked in at the front desk and received a program with a list of the films to be shown over the course of the ensuing three days. As I didn't see much of anyone milling about, I headed to the lower level where I was greeted by a table trimmed in palm fronds displaying an array of cloth dolls ranging in color from cream to carob and adorned in an assortment of vibrant fabrics. The featured description relayed that they were the product of the DLHM Black Doll Project launched in 2017, sending Black dolls to children in the Caribbean in an effort to affirm and empower them in their Blackness and Negritude.

Another table nearby was set up with ballpoint pens, a legal pad of white paper, and a folding chair, modestly decorated with a vase of magenta flowers and a sign encouraging passersby to “Write Yourself a Love Letter.” As I had no clear destination, I decided to sit and take the sign up on its invitation. I had all but finished just as Clarivel (we/us/you) was passing by. I had long been a social media follower and supporter of DLHM founder Clarivel Ruiz’s work since happening upon the organization online shortly following its inception. And though I naturally counted Clarivel’s presence at the event as a given, it never occurred to me I'd have the opportunity to meet, let alone interact with Clarivel personally.

A decades’ withheld revelation of Haitian ancestry by Clarivel’s father and the familial response that followed became the impetus for establishing DLHM. Since then, Clarivel’s journey with the organization they founded has not been without its risks and challenges due to unabating resistance and hostility that often surfaces when assuming a mantle of truth-telling. This has included cyberattacks and threats from Dominican ultranationalists, who have gone so far as posting Clarivel’s photo and encouraging others both locally and abroad to locate and harm them. Over time, attempts at intimidation, violence, and defamation only heighten the exacting nature of such work and can understandably take a toll, which resulted in Clarivel taking a prior temporary hiatus from DLHM and its initiatives.

In addition to activism, Clarivel is also an artist, an educator, a filmmaker, and an overall creator. And with a vitality that transcends space, Clarivel is an iconoclast with an intrepid commitment to DLHM’s underrepresented and largely silenced but vital cause. And so, meeting Clarivel in the flesh after years of admiration from afar was nothing short of a fangirl moment for me, which I unabashedly expressed along with gratitude for their continued work. And in the face of that effusiveness, the warm reception I received from Clarivel only added to my anticipation for what was to come.

Back upstairs, the film festival officially kicked off with opening remarks as the lights dimmed and the handful of audience members in attendance settled in for the first films: the short Daughter of the Sea and the documentary film Stateless. With breaks in between, those were followed by Colours in the Dust and Haiti Is a Nation of Artists. All were immersive experiences and presented themes of artistry, the aftermath of Haiti’s 2010 earthquake, spirituality, human rights abuses, politics, race, discrimination, and ancestry, to name but a few. There was even a virtual Q&A with the main subject of Stateless: activist, community organizer, lawyer, and asylee Rosa Iris Diendomi. By afternoon’s end, it was difficult to imagine that the festival’s subsequent days could hold a candle to the first, but there was, in fact, much more in store.

Day two’s roster included the shorts Forever Twins, Please in Spanish, Id, The One in The Mirror, Cotton Candy, Espíritus en Marcha, and Sisters By Water, and the full-length documentaries Jean Gentil, Chèche Lavi, How (Not) to Build a School in Haiti, and Massacre River: The Woman Without a Country. While the films offered thematic echoes of day one, they also rendered new ones: migration, belonging, identity, and division. In contrast to the day prior, some of the shorts (Please in Spanish, Id, Cotton Candy) even managed to incorporate humor into their more weighted topics. The day’s more sizable audience had the opportunity to engage in a number of in-person and virtual Q&A panel discussions with many of the films’ directors and creators, including Rulx Noel (Forever Twins), Bechir Sylvain (Id), Shenny De Los Angeles (Sisters By Water), MarQuerite Hamden (Espíritus en Marcha), Karlina Veras (The One in The Mirror), and Jacquil Constant (Haiti Is a Nation of Artists).

The day also included sessions outside of the panels in which audience members were collectively encouraged to share thoughts and impressions with regard to the films and their themes. These sessions became vulnerable spaces of palpable reflection, as some tearfully spoke to personal correlations while others expressed warranted indignation and confusion upon learning of such history and circumstances for the first time. The crowd ran the gamut of representation, with many from the Haitian and Dominican communities (like me and my beloved friend Nathalie, a Port-au-Prince native who was my faithful companion for the second and third days of the festival) and others with no ties whatsoever. This lent to an environment that all at once facilitated release for the former and enlightenment for the latter—an impactful scene to watch organically unfold. There was also generational diversity within the audience, with elders sharing invaluable lived experiences, including upbringings on Dominican bateyes and participation in birthright advocacy protests outside of the UN. And though I largely absorbed more than I spoke, similar to the previous day, a number of the films’ stories left me in tears that carried over to my train ride and arrival home, as I ruminated over the ongoing hardship faced by those at the center of many of the films’ stories and at the thought of those devoid of the opportunity to have their stories told or heard. I also mourned being unable to viably share that grief and outrage with members of my own family.

Day three, a Friday, was bittersweet, as it marked the end of the festival and a space that had become equal parts familiar and sacred. I greeted a number of now familiar faces by name, often with a smile and some even with hugs. In that way, the festival had fostered a level of intimacy among attendees. With the room nearly at capacity, many of the the previous two days’ films were replayed, along with the debut of Michèle Stephenson’s Elena and the impromptu additions of Oscar Grullón Cruz’s No me Llames Extranjero and Retrato Kiskey'ART/Yon pòtre Kiskey'ART.

Owing to kismet, Retrato Kiskey'ART/Yon pòtre Kiskey'ART turned out to be the perfect film with which to conclude the festival on the strength of its message of hope and solidarity. It featured the music of The Azueï Movement, a binational artistic collective that actively aims to promote a culture of peace between Haiti and Dominican Republic in both nations and abroad. The film featured the collective performing at locations on both sides of the island and the hurdles they often confront logistically, bureaucratically, and societally. Yet, it also highlighted a dynamic often overshadowed and believed to be all but nonexistent in the face of the ongoing injustice taking place: a desire from both sides for kinship and unity, strengthened by very real seeds being conscientiously sown. In essence, the film spoke to another path for the island being actively pursued for present and future generations. And fittingly, DLHM is also proof of this living ideal. The jubilant aura and infectious music of the film was a palpable breath of fresh air, with many audience members (myself included) dancing in their seats. That energized ambiance spilled over into the celebration that followed with the festival’s closing ceremonies, replete with food, music, and accolades of recognition for contributing filmmakers.

The festival for me was nothing short of a homecoming. For decades, I had been ineffectively attempting to speak to and enlighten others (including family members) of the genocide’s detrimental effects and the documented lengths to which the Dominican government has gone to keep its own people complicit and ignorant—an uphill battle I’ve felt alone in. I’ve faced consistent rebuff for this, even in spaces that purport to center and underscore such atrocities for the sake of prevention and accountability. My international affairs masters program at The New School turned out to be one such space.

In my final year, I had resolved to write my graduate thesis on the genocide and its ensuing effects through the lens of Haitian- and Dominican-authored historical fiction, given the general lack of official documentation. In the thesis workshop course I was required to take prior to submitting my official proposal, I faced startling resistance from the course’s Chinese-American professor, who not only seemed to have no knowledge of the atrocity or the current climate in Hispaniola, but no interest in learning of it. She dismissively declared my chosen topic “irrelevant” and instructed me to change it. Resolute in not being strong-armed into abandoning my topic, she threatened to fail me, which not only would have prevented me from formally submitting my proposal to the department but from completing the program altogether. After a semester of anguish, uncertainty, and incessant back-and-forth, in the end, she begrudgingly issued me a passing grade, which was likely the result of sheer fatigue from verbal sparring and just wanting me out of her hair. I would be interested to hear that same professor’s thoughts on the extant legislation passed by the Dominican government (TC-168-13) retroactively stripping Dominicans of Haitian descent of their citizenship in 2013, just one year after I graduated and submitted my thesis. I wonder if, in light of such a blatant human rights violation, she would still deem it irrelevant.

Attending Nou Akoma Nou Sinèrji, I at long last felt seen and part of something bigger, a cohort with a concerted and pivotal mission. The birthed and directed films by my cultural brethren were ancestral echoes decrying the rampant injustice and affliction plaguing our island and the diaspora, especially ones that directly referenced the genocide and the disallowance of home (Stateless, Massacre River: The Woman Without a Country, and Elena).

My maternal grandmother’s line hails from Bánica, a hamlet on the Dominican-Haitian border that is a literal stone's throw between nations only separated by a river that many on either side still traverse daily for the purpose of commerce and livelihood. At the time of the genocide, my grandmother would have been nearly four years old and my great-grandmother (her mother) just 31. Their deaths in my earliest years have deprived me of their words and stories. I'll never know the inconceivable horrors they witnessed over the course of those six days and nights in October 1937, the neighbors, friends, and kin they saw cut down and violated around them. I’ll never know what they felt, how they feared for their own lives, how they managed to survive, or the ways they were no doubt haunted for the duration of their lives thereafter as a result of having lived. What I wouldn't give to be able to sit with and bring them my questions, to hear their firsthand accounts of that and so many other things. My younger self, so disturbed when first learning of the genocide on my own, would have found solace in their words by sheer virtue of the fact that they survived to tell of it. But lamentably, that defining part of my familial history and theirs is long buried with them. So, just as The Farming of Bones did for me all those years ago, the festival’s films provided me with pieces of that history directly linked to my own in the absence of my grandmothers’ actual voices.

The festival’s films vividly depicted a great deal of Dominican and Haitian existence, culture, and history, even history many wish remained and arduously work to keep buried. Each film is worthy of being seen and savored, not only in support of the artistry of the filmmaking and the teams that brought the stories to fruition, but also for the messages those stories impart. I walked away with many favorites, but most of all invigorated with a renewed resolve. And though the pool of people in my life truly capable of appreciating and understanding the depths of the festival’s indelible mark on me remains sadly limited, it hasn’t lessened its significance. Even this piece, written to celebrate much needed activism and the festival’s impact, I know will not be universally embraced or well received. Yet the very existence of such opposition is a testament to just how much that activism is truly needed.

What Clarivel and Dominicans Love Haitians Movement were able to achieve with the inaugural Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival is nothing short of remarkable. It’s a feat whose ultimate outcomes would have been impossible to forecast or orchestrate: a space of genuine vulnerability and healing; a celebration of Haitian and Dominican art, expression, and culture; a forum for candidly addressing injustice, genocide, and the resulting implications. I only anticipate the festival’s impact and reach to grow with each passing year, and I look forward to being in attendance to witness and celebrate that momentous achievement.

Amanda M. Ortiz is a NY-born-and-bred, first-generation Dominican writer. Pursuing degrees in international affairs and Latin American studies sparked a commitment to peacebuilding and remembrance initiatives in societies that have endured genocide (particularly Hispaniola) that has yet to diminish. Her writing is a space of candid cultural, ancestral, and personal reflection previously published by Dominican Writers Association and Spanglish Voces. In addition to Spanish, she is fluent in Portuguese with a deep love for Brasil. Her writing and creative journeys can be found and followed on Instagram: @amopalabras and Twitter: @amo_palabras

[sisstarloop]

🚀 Season 4 of sisSTAR Sip & Share, our award nominated IG Live Series, continues with all new features this month! Our next live is happening Thursday, February 15th at 1pm EST! 🌟 Dive into the stories of phenomenal women who’ve carved their paths in business and life. 🎙️✨ This Thursday our chat with @starr_rocque will inspire us to make sweet lemonade out of life’s lemons.

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Follow @ sisstarloop for more Season 4 gems in February 2024! 💎💬 Unleash the power of sisSTARs – don’t miss this empowering ride! All replays will be available in our IGTV!

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🌟 Elevate your journey! Join Season 4 of sisSTAR Sip & Share – where women entrepreneurs and professionals dive into powerful business and life stories. 🚀 See you on the ‘gram!

[sisstarloop]

Now accepting film submissions for the 2nd Annual Film Festival! See more information at https://filmfreeway.com/nou_festival

[sisstarloop]

Excited to return to the 2024 Edition of the Black History Month Journal Challenge with Let Go-Be Great! THIS THURS @ Feb 8 at 7pm EST (6pm CST) - It will be a unique time of journaling, storytelling, and affirmations from Black Historians - #BeGreat Learn more about the journal challenge and RSVP here, bit.ly/WEAREHISTORY3

[sisstarloop]

🚀 Season 4 of sisSTAR Sip & Share, our award nominated IG Live Series, continues with all new features this month! Our next live is happening Thursday, February 8th at 1pm EST! 🌟 Dive into the stories of phenomenal women who’ve carved their paths in business and life. 🎙️✨ This Thursday our chat with @iamnataliasmom promises an inspiring journey through learning from life’s hardest lessons.

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Follow @sisstarloop for more Season 4 gems in February 2024! 💎💬 Unleash the power of sisSTARs – don’t miss this empowering ride! All replays will be available in our IGTV!

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🌟 Elevate your journey! Join Season 4 of sisSTAR Sip & Share – where women entrepreneurs and professionals dive into powerful business and life stories. 🚀 See you on the ‘gram!

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🚀 Calling all trailblazing women entrepreneurs and professionals! Get ready to fuel your inspiration with Season 4 of sisSTAR Sip & Share, our award nominated IG Live Series, with all new features starting on Thursday, February 1st at 1pm EST! 🌟 Dive into the stories of phenomenal women who’ve carved their paths in business and life. 🎙️✨ This Thursday our February 2024 kickoff with @nycwebfest promises an inspiring journey through entrepreneurship.

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Follow @sisstarloop for more Season 4 gems in February 2024! 💎💬 Unleash the power of sisSTARs – don’t miss this empowering ride! All replays will be available in our IGTV!

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🌟 Elevate your journey! Join Season 4 of sisSTAR Sip & Share – where women entrepreneurs and professionals dive into powerful business and life stories. 🚀 See you on the ‘gram!

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#sisSTARStories #EmpowerHERJourney #WomenInBusiness #SipAndShare #BizTalks #sisSTARPower #WomenEmpoweringWomen #InspireHerNow #FierceFemales #womenempowerment #BossBabesUnite #EmpowermentSeries #FemaleLeadership #successmindset #HERstoryMatters #nycwebfest

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💎 sisSTAR SIP & SHARE SEASON 4 CONTINUES! Stay tuned for more Season 4 features and all new conversations with women owned business and professionals for our 2024 season 🎉🎉 Connect & join us on IG Live for the award nominated sisSTAR Sip & Share series, as we have discussions with women-owned business and professionals sharing their business and life stories! We look forward to seeing you on the ‘gram 🎉🎉 And of course catch all REPLAYS in our IGTV #womenempowerment ✨✨💎

Connect with is on IG @ sisstarloop