When I hear our native tongue in music I feel every inch of my body respond 
I picture the clothing we wear and 
The dances we do 
The ground is still warm with sandy dirt 
As Inti brushes our skin reminding us of what’s true 
That the land that humans have colonized with never be theirs 
And soon they’ll be extracted without a clue 
Because the ground still screams for her children 
Ella sabe lo que está pasando y es testigo del sufrimiento mundial 
Pachamama nunca era propiedad 
They may try to erase connections 
With their industrialization 
And their infections 
But the land screams for her children 
Pachamama siempre se recordará

And when our native music plays 
She remembers how we honor our givers of life 
For a moment we connect the way we did before the colonized days 
Images of my ancestors smiling and yelling with joy 
Inti watching over them as they come alive 
Because even when I was stripped from them 
Memories from the past my blood still relives 
Pachamama siempre gritatará 
Our culture is still surviving 
We will always hear her call 
Every time I hear the music, I feel us rising 
Pachamama will scream for her children 
Until they all can come home

Wiyankiku?

Ecuador

Kichwa

Indigenous

I wonder if in the future the Kichwa Otavalo community will still be known for being “Mindalaes” traveling merchants, will we travel across galaxies or planets?

ñawpa

A woman walking across a starlit path towards a city on the horizon

Sheet music for a piece called "Different Folks"

Collage of a man wearing glasses and a collared shirt beside a wiphala, opposite a psychedically colored image of a mustached man

Welcome to the AltSalt sneak peek!

Envisioning the Future

Jessica Kahn is a musician and educator of Jewish, Scottish, and Andean descent, and contributor to the Alternative Worlds Andean collection. Here follows an interview wherein we asked her some questions about her composition, "Different Folks,"  as well as her musical influences.

Different Folks Links
Download Composition (PDF) 
Download Audio (MP3) 

Can you tell us more about Theodoro Valcárcel and his impact on your work, as well as the Andean musical field?

Actually, when I created Different Folks I wasn’t fully aware of Theodoro Valcárcel, but I was aware of Yma Sumaq who made me see how it was possible to blend classical, opera and Andean folk idioms. She sang Suray Surita also which I have sung with the help of Professor Elvia Andia’s help with the Quechua. Later a collection of Latin American art songs brought attention to the 31 Cantos del Alma Vernacular by Dr Caicedo with her presentation of the Tawa Inkap Takiynin (Four Inca Songs). I now see in Valcárcel’s rendering of both classical training and the indigenous side of his mestizo reality as a foundation for the Andean fusion musical field. Very important to note, he was a pioneer in his work and the first at least fairly well known in this style of writing. His genius, along with Ima Sumaq, inspires me as I seek to make arrangements of Quechua folk songs. He and Ima Sumaq influence a heavyweight in the Andean music field today, Sylvia Falcón. Specifically, he alone influences the conservatories of Puno, Peru that prize such fusions between classical and Andean music folk idioms such as the descending minor thirds found in huaynos. One such composer/arranger besides myself is Jhonathan Jesus Chasquilla.

Page 1 of Jessica Kahn's composition, "Different Folks."

Why did you choose to title your piece “Different Folks?” We love the title and have some ideas, but would love to hear your thoughts.

I chose the Different Folks title to represent different musical folk idioms (Andean, Jewish and Scottish) coexisting together as is evidenced in my experience, yet with an Andean underpinning (guitar and quena theme-guitar/Andean harp theme persists). Different Folks is about different folk idioms surrounding an Andean-spirited folk idiom which starts out the first bar with the guitar/arpa Andina/Andean harp in the thirds and then the quena theme in the next couple of measures with descending minor thirds of a huayno flavor. The Andean harp pervades throughout as accompaniment to other Idioms like the Jewish folk melody middle system flavor of the Jewish dance of the Horah and then lastly the Scottish jig, which ends the piece. Growing up in Ohio I was surrounded by Jewish and Scottish communities in addition to my Andean soul and it has been a journey for sure. My dad is of part indigenous Quechua blood raised in a Jewish household in Peru and my mother has some Scottish. My phenotype and spirit are very much of my Andean Native American Quechua heritage and it does survive in kay pacha (the everyday) through inspiration from Hanan Pacha (my ancestors) and Urin Pacha (spirits of the upper world/higher power).

Can you speak more about why musical fusion is important for Andean folks in the diaspora?

Musical fusion is important for Andean folks in the diaspora because it is a bridge between our worlds and where we are currently. It’s also a way to help us uncover our roots and present them to a larger audience which I believe is a part of our survival. We are still here, let’s be present. In addition it leads to things such as study of native American indigenous languages like Quechua and Aymara, traditional songs like Huaynos and dances like Huaylas all parts of important to initiatives in indigeneity.

Can you tell us more about why you chose to do a rendition of “Suray Surita” and what significance that song has to you?

“Suray, surita” is the ultimate Valcárcel song. Not only is it an art song, but it’s a symphonic work as well. It's sung and performed by anyone important in this type of fusion between classical and Andean who is a soprano and of Andean descent, and that fits me. The song is about the agonies of unreturned love from a fickle lover, which I believe is universal and many have experienced, and the soprano vocal part represents the slighted lover with its beautiful lyric melody all befitting of masterful art song writing on par with greats such as Mozart, Schubert and Mahler.

Jessica Kahn will feature more of Valcárcel’s work along with Different Folks on her recital planned February 25 at 6PM EST; you can watch it live on her Facebook Jessica Urpi Kahn and YouTube channel Half Halva. 

Jessica Kahn is a musician and educator of Jewish, Scottish, and Andean descent, and contributor to the Alternative Worlds Andean collection.

On "Different Folks" and Andean musical fusion

(Dear Charles #2) Cultivating Cultural Change

Here follows an interview with Alejandro Fernandez, an Aymara descendant and contributor to the Alternative Worlds Andean collection. Alejandro creates improvised and progressive psychedelic folk music and is a second generation refugee of the Chilean Pinochet dictatorship.

What inspired you to become a musician? What inspired you to become a part of AltSalt and submit?

I think partly my musical inspiration I know now, came from my father, who when a university student went on a tour playing guitar across the north of chile in a little bus in the 60s — and he just dabbled in guitar and could play a bit like Victor Jara, or Peña de los Parra — guitar based singer songwriting, mostly recuperating traditional tunes. I think it was this experience which made our house musical, and made my parents jump at the opportunity to have myself and my older brother join a children's Chilean exile music group, when we lived as exiles in 1970s Glasgow within a tiny Chilean minority. We played on the radio, for Amnesty International, at the city council halls, and were a regular act at Chilean solidarity events. My parents always encouraged that creative side, spending a lot of extra money on piano, guitar, musical theory lessons until I graduated from high school and studies took over.

When I saw the call to submit to AltSalt I felt right at home and had no idea what to submit but I really am grateful for you wanting to dedicate a blog to my musical work!

How does your relationship to the Andes figure into your work?

I always knew I was Aymara, that we were not just Chilean but had another thing, that was our grandma's — and that one side of the family had come down from the Chilean precordillera, from towns and villages at 3 or 4 thousand metres high, and before maybe we had come from the mines near Oruro.

I always treasured that aspect but thought it something almost lost, and only recently looked again for that Aymara identity as others rediscovered it, surprised by seeing so many Mapuche and Aymara flags at the chilean Estallido protests, and even more worldwide when after George Floyd's death there was such an awakening of decolonial thought, and I started seeing young people doing Zoom talks, or with social network presences telling about how they had gone back to their villages, and got their grandmas to teach them their language and culture again, in some cases then resulting in whole families regaining their lost language, which people like my Dad still wish he and his generation had never abandoned due to bullying and racism from "Chilenisation".

But it was only recently that I heard a recording of my other granddad, from the more Spanish, Catholic side of the family that is based around Santiago. That side of my family had been broken by various feuds between uncles and cousins, and I wanted to share something with the cousins I was still in touch with, and so I asked my parents for recordings of him. In the cassette recording from the early 90s he mentions the Camanchaca, the fog that crosses the north, and talks of having always been from La Serena.

I asked my parents about it, and my dad sent back a family tree done by a distant relative on myheritage.org which traces that line all the way back to the conquistador Francisco de Aguirre, exterminator of the Diaguita tribe. Not only did he wage war on people both sides of the Andes, but he also fathered huge amounts of children by raping indigenous women, for which he was taken to trial by the spanish virreinato. He even took part in the siege and looting of Rome and the vatican before taking off down south. My dream is to go back to Chile and travel north from Santiago to uncover more of those secrets that for many are no secret: https://www.amren.com/news/2019/11/conquistadors-tumble-as-indigenous-chileans-tear-down-statues/

We've read your belief about music wanting to be free, and are struck by the range of expression in your music — from classical quartet music to more experimental electronic, glitchy music with poetry on top. Can you tell us more about your creative process?

About musical freedom, I feel my journey has been similar to the decolonial one. I started out playing in rock bands led by a teacher or band leader, or where a composer wrote all the parts, sometimes in a positive way because there was a lot to learn, but also I felt that musical creation had to be colletively based, and loved the concept of art collectives and of creating work without some boss or replicating these top down structures where even the piece of paper is the winner. This led to musical improvisation, experimental improv and psychedelic music as a way to say no to all that, and explore instead the beauty of spontaneous creation, and of musical events where there is no centre or stage, where everyone can be both listener and creator.

I've always struggled to access good recording kit and avoided closed source proprietary software for making music, so I used Audacity, featurephone midi tracker apps, old tape based 4 track mixers, minidiscs, and nowadays bandlab - which is like an all in one version of all those other things, with a microphone and link audio mini bought from bandlab itself that plugs into my tablet and gives good enough recording quality to multitrack. Bandlab really helped me through quarantine as I couldn't meet and play with other people but now I'm hoping to start a band or group of some kind and play together again with others.

Also I wanted to add that although "music wants to be free" is a quote from a futurist — maybe Luigi Russolo about industrial noise and experimental music vs written/composed — that Andean music, when played in the Andes, usually is very strictly matched to the season and time of day, similarly to how Indian classical ragas also are written for specific seasons or settings, but in the Andes they also reflect shared work.

So although it should be free from prescribed order or a single master, it can be also be something done collectively by all and as an offering or part of shared work, an exchange or reciprocity with the season and the communal work required for that time. So maybe on my journey I broke free from music composed by a "leader" to be executed in some kind of hierarchy, to complete freedom of improvised experimental sound, then got more into the rules of traditional forms of melodic improvisation — like Indian or Scottish folk music but now I feel it would be so good for it to be an offering to accompany communal work as we did and some still do in the times of Ayni and Minga, maybe the kind of work we have to do in renewing and regenerating the earth after these times of colonisation and the dominance of extractive systems.

Why do you think it's important for everyone to realize they are musicians or artists and to create?

I think social networks, and some music apps and software always present this image of perfection, and are kind of too efficient at the wrong things, creating this idea that you have to be somehow different from or above the rest in order to make music. I think music can be used in many ways, to show grandiosity and how to stick to rules, but also like an expression of madness, of strangeness, like when everyone "dances as if no-one is looking", just expressing their own selves. I think it's therapeutic to let yourself go sometimes and express these things, and I would love to help people reach that inner decolonised person they have inside, that doesn't stick always to rules, but is a little bit wild and free.

You can find more of Alejandro's work on at his Chorus collection on Archive.org or his Bandlab.

Here follows an interview with Alejandro Fernandez, an Aymara descendant and creator of improvised and progressive psychedelic folk music.

Heritage, music, and creative freedom

Untitled

Choclo y Chicha: a zine for (and from) the Andean Diaspora

Turn out the lights and explore a dream world in Ana Somnia

New feature now available: Resonating

Alternative Worlds: The Andes and Asian America

Mundos Alternatives: Los Andes y América Asiatica

"To Dream and Be Intentional" — Interview with Shirley Man-Kin Leung

The Birth of Andean Futurism

Bibliography of Andean Myths

Bibliography of Asian American Resources

Alternative Worlds Workshop Weekend Schedule

[Generations]

49 Days

(Interview)

Andean Sacred Geometry

What is Resonance?

Reverberating with the past

(Dear Charles) The Shape of Our Future

Within the Fold

Created for the Asian American collection of Alternative Worlds.  

Called forth from the dreamers, healers,
witches, womxn of our bloodline
we are the beginning of a new story,
no longer forced to migrate
between truths too small,
stuck in someone else's stomach.
We are not only her aching body
we are dawn
we are light breaking free.
Our ancestors are at our back,
in the rustling of trees and leaves.
They've always been alive.
And when we pray,
we pray whole body into the earth.
We become our own prayer

Called forth from the dreamers, healers, witches, womxn of our bloodline, we are the beginning of a new story,..

Becoming Our Own Prayer

Acceptance

Everyone

United States

China

Ireland

Argentina

Bolivia

Chile

Colombia

Peru

Wales

Philippines

Mobile Android Browser

Desktop Safari

Desktop Chrome

Desktop Firefox

Mobile Safari

Mobile Chrome

Mobile Firefox

Zine

Poetry

Visual Art

Essay

Guide

Experimental

Letter

Interview

Perzine

Andinx

Aymara

Second Generation Immigrant

Welsh

Andean

Quechua

Latinx

Andes

Cantonese

Asian American

First Generation

English

Spanish

A few minutes

Paxsi's Instagram

Exhibition URL

Landing Page on Author's Website

Colección Cisneros Exhibition and Essay

GoogleDoc Format

Article Format

Alan Poma's website

Red, green, and yellow art with choclo and geometric iconography.

A cover image with the text "Making AI Art Responsibly: A Field Guide", & a cute character at the summit of a mountain alongside a flag.

Blue text on white background: "These are the things they took from us, They left us bare These are the things they couldn’t"

A shovel and axe in the shape of an X, along with the publications title, the author's name Alda Yuan, and info including the publication year of 2021 and version 1.0

An abstract image of bubbles and dots and rays of sunshine in a blue and pink color palette

Portrait of a young child against a pink background; plants emerge from the child's face.

Collage of antique and modern pictures of women.

Left: a cute blob with a speech bubble saying, "Hi! I'm an artist who wants to use AI in my work!" Right: 4 icons with the text "You'll need: 1) Dataset, 2) Model Code, 3) Training resources, 4) A publishing plan"

A page with the title "dataset". On the left, an illustration of files and papers drifting down from a cloud into a large stack of papers.

A page with the title "Model Code". On the left, an illustration of a stack of blocks, and another block about to be placed on the pile of blocks.

A young person in three different stages of life, in three different outfits

A person playing a guitar opposing a portrait of another person looking at the camera

Quotes related to social change by Zora Neale Hurston, Archimedes, Toni Morrison, and Angela Davis

The publication's table of contents: Preface, Form and Functions of Institutions, Six Steps Towards Institutional Change, Checklist for Self-Reflection, and Conclusion

Preface page with title "Institutional Change and the Fight for Justice"

A Modern Ghost

Huancavilca

In May 2020, Rimay Raiz launched Choclo y Chicha, a zine that shares the contributions of the Andean/Andinx diaspora through poetry, art, and storytelling. Both choclo and chicha are Quechua words for our ancestral foods of fresh corn and maize drinks, we chose them to reflect our cultural connections and create a space for a uniquely Andean zine. Chicha is also a type of music, Peruvian cumbia, that musicologists and sociologists claim emerged in the Amazon of Peru out of a sentiment of exclusion and otherness by dominant white, criollo elites. We chose to include zines as part of our core mission because they would allow us to showcase creative media works from our communities on our own terms, without the need to compromise our vision through mainstream publishing. We also want to acknowledge the diverse ways that our communities express their thoughts, feelings, and experiences, some orally, while others visually or through text. We hope to distribute the zines widely and inspire others in our community to value and share their own stories and experiences through this, and other, mediums.Our first zine features profound stories such as “Camino hacia la Boca del Lobo-Simiatug” by Jimena Vega, powerful poems such as “Mama Negra, Mama Tierra” by Mónica Carrillo Zegarra, and art by colectivo member Layqa Nuna Yawar, Lenny Correa.

Choclo y Chicha Vol. 1

See Sandy

Quechualish: An Indigenous Language Zine

Machine learning tools provide the potential for unprecedented creative expression, but also the potential to cause unintended harms.“Making AI Art Responsibly: A Field Guide” is an illustrated zine composed of questions and case studies to help AI artists use AI techniques responsibly and with care. We suggest that artists using AI should consider themselves part of the broader responsible AI community. As a result, it is important to consider factors such as consent of people represented in your datasets, labor involved in the model development and pre-existing codebase/tools, and AI infrastructure and environmental costs of training machine learning models. We hope that artists will attend to the potentially unintended harmful consequences of work as understood in domains like information security, misinformation, the environment, copyright, and biased and appropriative synthetic media.With this guide, we believe that by reflecting on what is “responsible” for their own creative works, artists can push forward best practices employed by all AI practitioners.Doing so can ensure that they harness the expressive potential of AI, responsibly.The Responsible AI Art Field Guide has been featured by Gray Area, DISEÑA, and Mozilla Festival.&nbsp;

Making AI Art Responsibly: A Field Guide

Within the City

Colo-Mítolo-Gítal

shortly, briefly

Part of the Kiona Ligtvoet’s solo exhibition “These Are the Things” at <a href="https://www.latitude53.org" target="_blank">Latitude 53</a>, this document is collaborator Paxsi's contribution to this gentle attempt at navigating intergenerational barriers to grief, tenderness and longing, in the presence of enfranchisement and personal displacement.In their essay, Paxsi, an Aymara and Welsh-Irish writer and artist, reflects on their Aymara roots as it relates to family connection and their trans non-binary identity.From the author:“I am honoured and privileged to be contributing to this collaboration with this piece of writing which expresses my grief and longing for the things that were taken from me, as well as a celebration of the things that cannot and will never be.“As you reflect upon and consume my words and Kiona’s work, please consider contributing reparations to Kiona’s home community, Michel First Nation, for the legal fees required to reclaim their land and status rights. Reparations can be sent as e-transfers to kionaligtvoet@gmail.com, which will be forwarded to Michel First Nation.”

Letter to Miguel, from “These Are the Things”

Cat Scratch Fever vol. 1

Beanie Hat Prototype

Mosqhoq (Dreamer/Soñadora)

This guide is meant for folks working to shift the institutions they are already part of toward greater inclusivity, anti-racism, and racial equity. As racial injustice and anti-Blackness are systemic, that means all institutions, big and small, are affected. At every institution I have been a part of, it has been the discomfort, sorrow, disappointment, frustration, and mutual solidarity of Black folx and other marginalized people that have pushed it toward progress.  Yet this critical work is extremely emotionally taxing. Not only is it painful to discuss deeply personal issues, those who speak up are also worried about being seen as unprofessional, as not team players. This means that those in places of relative privilege and safety need to speak up and do more. But I know organizing for change within institutions is not easy because I've personally caused a lot of trouble for institutions unwilling to confront racial inequity. In the process, I've learned some lessons and want to pass them on.  To that end, I've written a DIY Guide, first to help explain why everyone can and should be trying to address racial equity at the institutions they are already a part of, and then to provide six concrete steps to advance racial equity at your institutions.​This guide is license under a <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank">Creative Commons Attribution 4.0 International License</a>.&nbsp;

With a Lever: The DIY Guide to Institutional Change for Racial Equity

Artema #1: The Exile

Alt Worlds Collab

Cultural Correspondence

In the Andes, geometric images known as tocapus carry within them a coded language whose meaning has been lost and that no Western science can read. However, the ancestors of the Andes did not themselves believe in death — and the meaning of these geometries may yet continue to live on within Andean descendants.

The Manifesto calls on those of Andean heritage to awaken these meanings by looking into their past, then project the meaning of these symbols into the future through a process of transrationality, whereby one may acquire the vision that will birth new Andean technologies and the reshaping of our reality.

Andean Futurist Manifesto

Riveted in the Word

(Dear Charles #3) Thinking, Feeling, Creating

Rooombra to the Rescue

Test Publication

Choclo y Chicha Vol. 2

Free

Paid

Resonate

Book

Artificial-Intelligence

Creative-Coding

Twitter

Instagram

Website

Yoga by Shirley website

ArtemioMorales.com

portfolio

instagram

Music

Bots

Personal Website

Integral States Project

adinafarinango.com

adinasdoodles

Quwicha Zines

I'm a software developer, director of Artmayu Studios, and founder of AltSalt.I love the digital and literary worlds, especially exploring new kinds of digital literature, from experimental multimedia books to narrative adventure games.Currently, I'm in the process of learning more about my Andean background, and thinking through how to bridge that heritage with the world of technology.

The Andean diaspora* community in the United States is confronted with discrimination and a sense of dual exclusion from both Latinx and white US heritages due to histories of colonialism and imperialism that continue to impose Western epistemologies across time and borders. Rima(y) Raíz, an Andean diaspora collective based in NYC, NJ, IL and CA, confronts these issues by documenting and sharing inter-generational oral hxstories of the Andean diaspora in efforts to reclaim a sense of identity, alter dominant narratives about their communities, preserve experiences and knowledge of their elders for the next generation, and create a sense of solidarity. &nbsp;We are inspired by Andean notions of time, space, and community such as pachakutik and the ayllu and we choose oral hxstory as a medium due to its inter-disciplinary, borderless nature. Oral hxstory also acts as a way to decolonize the production of knowledge. The main components of the project are (1) interview three generations across the US-Andean diaspora, including community leaders (2) archive the oral histories in a public website, (3) share and discuss the stories via a podcast, zine, public space installations, and virtual Raymi or parties, and (4) organize gatherings of Andean organizations and leaders to celebrate and unite cultural advocacy efforts.Coloniality may have traversed time and space, but so has our resistance.*The Andean diasporic community includes people with South American heritage from Andean countries such as Bolivia, Ecuador, and Peru. Hence, Rimay Raiz utilizes the term Andean to refer to this region of South America, as opposed to folks that are strictly from the highlands. We remain inclusive of the many nationalities in the Andean region, and recognize that people that may identify with diverse backgrounds, such as that of the coast and the Amazon, Black, Indigenous, mestizo, and we welcome all people who identify with our mission and background, whether they are recent immigrants, second generation, or have not connected to their ancestral countries for generations.

I am gardener and composter passionate about equity in the food system. Quinoa scholar and oral history and community archive enthusiast. Runasimita yachapakuq. Member of the Rimay Raiz colectivo.&nbsp;

Ecuadorian-American sociologist, of Huancavilca and Kichwa descent. Bi-coastal, born in Queens, NY and raised in both NY and CA. Musician, community activist, project coordinator at an immigrant and workers rights org, and co-founder of Rimay Raiz.&nbsp;

I am a triple fire sign, Catholic and a feminista. My family is Peruana, my parents immigrated to the U.S. and I was raised in Central Florida. I write poetry on Mami_soy_emo on Instagram about growing up in the between of Peruvian and American culture, therapy , sisterhood, empath struggles, and my ongoing haphazarduous love life. I am inspired by my Mamá, sunsets, pollo a la brasa con papas, and humanity's ability to heal. I am also an immigration attorney who works with survivors of gender-based violence, a plant mom to 17 plants, and a mediocre ukelele player. I am currently working on a zine about my therapy journey.&nbsp;

I am an Indigenous Adoptee from Peru. I've grown up in Brooklyn, NY and I've gone back to Peru several times to reconnect with my biological family.&nbsp;

Bridging the worlds of the West and Andes through storytelling...Artmayu is a digital book production studio, and the studio behind AltSalt!Our name comes from Artemis, the Greek goddess of the moon, and Mayu, the celestial river from Andean cosmology.In addition to maintaining the AltSalt website, we make animated ebooks, games, and other creative digital projects.

Colombian-United-Statesian born + based in Queens, NYC and raised in Orlando, Florida.&nbsp;I'm interested in the narrative potential of the internet; A web that is playful, poetic and surprising.&nbsp;

Editorial content by the AltSalt team.

Shirley identifies as a queer, asian-american woman of color. She works as a community organizer in Northern Colorado and as a yoga teacher. When not being self-referential in a bio, you can find her painting watercolors, biking around town, dancing, or reading a book.

animator and illustrator currently studying at school of visual arts. a rat girl

Imanalla! I'm Sandy, a zinester librarian in sunny southern California. I started making zines as a way to practice and maintain Quechua, my ancestral language and one of the most widely spoken Indigenous languages of the Americas. I now feel like I have too many zine ideas and too little time, but I try to make it work!&nbsp;I participate in several Andinx community projects like the annual May Sumak Quichwa Film Showcase and oral history collective Rimay Raíz. I love creating spaces for our community to share our cultures, languages, and experiences in the diaspora.&nbsp;In my spare time, I enjoy reading/watching things in the realms of sci-fi, fantasy, or horror. I also like to weave and garden (especially with, you guessed it, Andean potatoes!).&nbsp;

Writing, scriptwriting, andean ethnofuturism, nueva trova, improvised music, folk music, non white centric SciFi, decolonization and decolonising art

I'm a writer and cartographer. I mostly write scif/fantasy and have worked on some table top rpg projects such as the in*die zine and unbreakable rpg. I manage the integral states project, where I draw US states and territories as fantasy maps and pair them with pre-colonial histories.&nbsp;

Envisioning an alternative world

Layqa Nuna Yawar

@layqakuna

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