Social Confoes

Hosted ByDiego Ameerali & Jeanluc van Charante

Social Confoes 015 – Finding Your Passion w/ Suleigha Winkel

On #SocialConfoes episode 15 we are joined by Suleigha Winkel to talk about working on a film set, podcasting, finding your passion and much more! She’s a co-founder and stylist at Margi Lifestyle and also directed the movie Lobi Singi.

You can also connect with Suleigha:

Listen to her podcast: Hoe Duur is Passie (in Dutch)

Episode Overview

  • 0:00 – Introduction with some singing
  • 2:54: – The story behind Lobi Singi
  • 8:10 – Challenges around producing a film in the Netherlands and Suriname
  • 13:56 – Differences in production design, art design and background design
  • 17:04 – An experience in Indonesia
  • 20:22 – How do you decide what to do next?
  • 25:24 – Dancing in Paris
  • 35:11 – Stories behind fashion
  • 40:34 – The thinking behind Suleigha’s naming conventions
  • 45:47 – Podcasting: Hoe Duur is Passie
  • 56:24 – Where can people find the things you’ve created?
  • 1:08:55 – What sets your soul on fire?

Video Version of the Episode

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Full Transcript

Jean-luc: [00:00:40] Well, good evening. Good morning. Good afternoon. Wherever you are watching in the world. This is a brand-new episode of Social Confoes. Shall look here together with Diego and Diego. It’s already episode number 15. It’s going quite well. How do you feel

Diego: [00:01:17] it is? It is. I love how you use that intro. I think we’re getting the hang of this intro thing now opening the same time every week.

So that’s progress in dead. So I feel great and I feel even better because the guests we have today Yeah, you might have seen her around. You might, might’ve seen her movie. You might have seen her styling he’s in every, almost every field of their creative industry. I first met her or I first heard about her, like as it four or five years ago 2016, I think out of nowhere you get this Surinamese movie about Suriname and a friend of ours, a common friend of ours was playing in that movie and yea Micha, and then you suddenly see Lobi Singi by Suleigha Winkel so you think who is Suleigha Winkel out of nowhere? She appears here with a total the red carpet opening premiere everything. And there’s this movie So, yeah, shortly after that I briefly met her at the another friend’s party, had a brief talk but it wasn’t until 2019. If I recall correctly when she was organizing the Indo film festival in Commewijne, Peperpot. But yeah, it’d be really had a chance to talk. So she’s a very, I guess she a peculiar woman and a very stylish in a sense. So she stands out, definitely stands out from the crowd and without further ado Suleigha Winkel we’d like to welcome you to Social Confoes.

Suleigha: [00:02:48] Welcome. Thanks. Thank you. Thank you for that intro. I loved it. Thanks for having me.

Jean-luc: [00:02:54] Yeah. So I’m going to jump right into it. I’m going to introduce you by singing a very small portion of a song. And I’ve only sang three times. One was at my wedding. Another one was at a show that never aired, and this is going to be the third time. So it’s going to be kind of like special because I’ve never done this live, but I’m not going to act like I’m able to sing. So it goes something like this.

[Jean-luc sings]

and I’m going to stop right there. So, so of course you sang it a lot better? You even made a movie about it. That’s what we’re going to into. I’m quickly going to tell the people what, what the text means, because we also have viewers and listeners, people who listened to the podcast afterwards from outside of Suriname.

It basically means so many days you’ve made me wait. Translate at the different ways, but so many nights I, I founded, I worried and then I’ll apply. That that makes that now our love is lost.

So now that we’ve spoken about it, you actually made that song. I mean, all the millennials in Suriname, if you lived in Suriname, in the nineties, you know, Lobi Singi as a Suripop song, one of our favorite Suripop songs, and you made it into a movie. So of course, we want to know the story behind that because it was connected to your what’s a university or a school project, or a university project. What you did.

Suleigha: [00:04:44] Yeah, exactly. Yeah. So that was a great introduction by the way, sang the song. So that’s very special. Thank you for that opening. Yeah, it was indeed. I was at my last year of school. I was studying film and we had to make a movie and it was supposed to be 12 minutes or something, but I really wanted to make like a long movie.

So eventually we chose to use this the song. So the inspiration came basically from, you know, the feeling, the feeling of missing Suriname. And actually, I’m going to go a little bit back. Why I, why I started making movies actually. It was in 2010. I really wanted to be a music producer in the beginning and music was my thing.

And then I I followed this this competition that the cosmopolis competition and we had to make this movie. And I won that in Rotterdam and yay. I was like, you know, film is my thing, but I’m going to jump now to the moment where I was like, I have to make this movie. And I, I I, sorry, my, my English and Dutch, I have to really like, think about it first because in Dutch it’s so easy.

Right. So yeah, so we did this competition and afterwards I wanted to go to Holland to study film because Suriname they really didn’t have the, the, the, the, the study. So I went there and I was like the last year I have to make a movie in Suriname and it has to be about something in my life that was really important that that is missing Suriname. So the music was perfectly for, for the movie actually. Yeah.

Jean-luc: [00:06:21] Okay. So we do want it all I know Diego likes to make movies. And I tried to get into Utrecht to have a minor in film and theater science. I unfortunately didn’t get in, but that’s a totally different story. But for us, it’s like, you’re very creative. You also work on the sense of different productions video productions, different films how difficult was it to set up to film the movie and how much effort did it take? Because there are, of course had to be a budget. And even if it’s a short movie, you still have to pull some strings or on. So maybe you can tell us a little bit about that process.

Suleigha: [00:07:03] Yeah. The process was a little bit difficult when it came to the finances, especially because the first time writing the movie, I already had a vision of how I wanted the movie to look like. So the writing was a little bit easier. I had a few friends who are really good writers Brian Blinker.

He’s one of the co-writers of the movie. And he was so great in writing, like to capture really the Surinamese essence in the movie. So that part was easy, but eventually we had to form a team, of course, you know, the camera crew, the cast and everything. And I noticed at that time, you know, when you have to graduate, you’re, you’re full of energy.

So everybody feels that it’s about, you know, telling people why you want to make the movies. So I had a lot of people were really enthusiastic about the movie. So the crew and the cast were a little bit easier, but the finance was, yeah, it was a hurdle. So eventually we got a few sponsors from Suriname to us sponsored the movie.

And of course I had my own in bank, my own money I put into the movie. But that was, yes, it was difficult to do that. Yeah. Yeah. Eventually it was.

Diego: [00:08:10] I can only imagine the logistic that goes through that this only being like for, for a graduation project. That’s yeah. And then across two countries, you guys did a filming here and there, and I guess how often did you have to travel back and forth or was it like, you know, you had a plan and shoot and just go back and go through the editing. What, were there any challenges when coming here specifically?

Suleigha: [00:08:37] Yeah, of course, because we had a crew like 50, 50, 50% from Holland, you know with colleagues from, from, from the school and also from Suriname. So basically the most traveling we did was actually when we recorded the song, the new version of Lobi Singi so I contacted Astrid of course. And I asked her if she wanted to be part of the new soundtrack of course, because it’s her song. Yeah. And that was going from Belgium back to Holland a few times. So we had to like make a whole new composition, because I did want to keep the essence of the song, but change a few things also in the lyrics and a little bit in the melody of the song.

So the new version had to be like, you know, a new vibe to the movie. So that was the part when we had to go like back and forth a lot, but we traveled only one time to Suriname, to film and we stayed about one and a half months to make the movie. And then we traveled back to film one or two more weeks.

So it was, it was really working together. They stayed at my, at my grandpa, a few members of the crew stayed with my grandpa. A few people stayed at my home. A few people went to a few friends in and Suriname. So there wasn’t really a, it wasn’t really interesting to see. And for some people, it was also the first time coming to Suriname, of course.

So they witnessed Suriname for the first time. So what was really interesting also on set, you know, we have different customs sometimes, you know, in the movie we have a scene where the, the, the lead actor is going to the house without taking his shoes off. That’s the thing, you know, when Suriname you take your shoes off and you go inside.

So the crew also had that moment where they didn’t take their shoes off. So that was, that was funny, you know, because they could really feel how it felt, you know? And that, that, that added to the movie. Also, we had a lot of fun making the movie and I had to explain a lot, which for me, it was also very special because when you live in Suriname, you’re used to the customs, of course.

But when you have to explain to somebody why, why things are like this and why not? You, you get a little bit more in detail for why we are doing what we’re doing actually in Suriname. So that was really fun.

Jean-luc: [00:10:45] I do want to jump into that I actually do want to jump into that. What’s the, not the creation, but what is the, what was one of the Surinamese customs that you had to explain that the Dutch people that after you explained it, you were like, Wow. It’s really weird that I had to explain that. All right. Not necessarily that you felt ashamed, but you’re like, Oh wait a minute. That’s something we’re accustomed to, but it’s completely weird for somebody outside of Suriname.

Suleigha: [00:11:12] Yeah. I was one thing. It was with pets. So, you know, you have stray dogs and Suriname, and you have stray cats sometimes, and they’re more used to picking the animals upright and petting them and keeping them close.

So we had a few people who really loved animals, who really, from the street, they picked up the animals and took them in the car. So there was funny moments and the animals scruffy and stuff. So that was funny. And we had to tell them, you know, in Holland it’s a little bit different in Suriname. You don’t take them home; you leave them on the streets.

And there was a funny moment where we had to explain that costume actually,

Diego: [00:11:47] and really short. Yeah. If you had to flip the script and you going to Holland was there anything in particular that you thought that was odd there?

Suleigha: [00:11:58] Yeah, there was one moment actually. And this is in families. I went to a girlfriend, we had to study. And they had, they began eating, you know, that they had their dinner and you wish you would leave and you go to people’s homes, you know, they eat include you, right. It’s with the meal. And I was there and I was like, okay, nobody’s asking me if I want to eat something. So that wasn’t really funny and, and weird because I didn’t know what to do.

Right. It was very awkward. I was standing there and they, the girlfriend told me like no, we don’t eat together with guests. Not, not, not all the time. So that was something I had to learn, you know? So she was alone, but that was something, you know, where I was like, okay, I don’t understand why they have this, but in Suriname, you always get a seat at the table right. You always get something to eat.

Diego: [00:12:46] It kind of forced you to

Jean-luc: [00:12:49] yeah. Yeah. Yeah. You’re a guest. You’re a guest. Yeah, I think for a lot of people, I think they’re definitely a lot of people who have experienced that, that must have been like really weird for me. I was like 10 or something, nine or 10. And I was at a friend’s house while I was staying at.

So I did eat at their table, but then he had a friend over and then all of a sudden was we’re going to eat. And the, his friend just jumped back to his bike and went home and came back after we were done eating. And we were like, for me, that was like really weird. But the experience you had was much more current fronting actually, because you were actually there and you were not allowed to join the table.

Suleigha: [00:13:31] Yeah. Yeah, it was, it was weird. It didn’t ask me, I was standing there, but you know, when you get older, you know, few years later, you understand why people are used to that. You know, you get more, you accept more what’s happening, you know, at that point you felt a little bit humiliated of course, and a little bit weird. You don’t really understand, but now I have one more. I understand it more like why, why did it like that? Yeah.

Jean-luc: [00:13:56] No, it’s a fairly big cultural difference and it’s something you have to have to get over. So before we go to the next question, we have a couple of shout outs from the people joining in on this three month.

It might be a gift that might be the reason why we’re not actually seeing it in the stream. Tevin wants to say good evening.  And also greetings from a Vishant Poeran on watching on YouTube. And you just had a little laugh for the forced feeding, because we’re all used to that. If you’re Surinamese and you’re visiting somebody, you’re gonna get forest force-fed

yeah, that’s, that’s pretty normal. A little bit about a set production, because basically you’ve had a lot of experience also in kind of the art department of a film set. And I always wanted to do with the differences between production design and, and, and art design and background design. What, what do most people that have never experienced working on a, on a professional film set? What the, what kind of behind the scenes jobs are there when it comes to production and designing in general?

Suleigha: [00:15:02] Yeah. So the basic difference is in the preparation and the actual filming, that’s the biggest difference. So before you film or make a movie, right, you have to begin with the preparation part, skip writing, and also figuring out what are the colors that we’re going to see? What is the mood we want to set? You know, every little detail is important. Like, why is this? Is this, is this like white. Why should it be blue?

Those things are carefully thought out. Of course, because everything adds to the scene. Of course, nothing is it’s not on purpose. So that’s the difference. I think mostly in the preparation part especially art direction, which I’ve done a lot, of course, we had to really sit with the director and also the visionary of course of the movie, and really figure out what is the color palette.

For example, or what are the, the, the important props you want to put in the movie to add to the story? So those things are like prepared before the movie and being bought in, in that specific color, sometimes in that specific material because of the lighting, the shine. So everything has to be very precise.

So that’s the biggest difference, I think. And you talked about production, of course you have pre-production, and you have of course production onset than production post-production when you edit the movie. Of course. So I think the pre-production is somebody who really knows how to put everything together before the movie starts.

So everybody’s on time. They make lists. Of course, of all the people, all the people who have to be there. And in case something happens, there’s always a backup. You have to be prepared for everything and onset. It’s more about the moment. So basically, when the camera turns on, you have to be really in the moment to figure out, okay, what’s next?

And what do we have to do? And the people who prepared the scenes are more, a little bit chilled bag, you know, waiting for what’s going to happen. So that’s the biggest difference, the preparation and really being, you know, on, on, on, on the time, on the moment. Yeah. That’s the biggest different, I would say.

Diego: [00:17:04] Speaking of set designs and I guess productions you’ve also had experience for one of the movies you’ve worked on during your course in Indonesia. Um Did you, I guess if you compare your experience in Indonesia and the Netherlands and Suriname, what are things from, especially across the world, similarities in Indonesia that you’ve like kind of seen here, or what was your experience in general there? I’m curious on that as well.

Suleigha: [00:17:31] I love that question. I love that question. There is, there is a big difference actually. We have of course the Javanese culture and Suriname, my mom is I think that third generation from Indonesia, from Java and the difference is they’re more spiritual, I think in Indonesia, when you’re on set, you always have to pray before you do a scene.

That’s one of the main differences. In, in Holland, you don’t really have that, that you really have to sit with each other and really talk about basically the, the ghost who are surrounded and in, in the scene, you know? So those are a few differences. And if I have to compare it to Suriname the people are really excited to make a movie like everybody wants to be of the set.

So when we went filming in Jakarta, you know, we had a scene on the streets where it was really a lot of traffic, you know, that’s, what’s Jakarta known for right traffic. And we had a camera guy who was in the car with us. And you saw so many people walking around just wanting to be in the movie. So people are really excited to see a camera.

You know, you also have that, of course in city Nama with not like in Indonesia. So being part of something, you know something big, I think was the, one of the differences I, I noticed in in Indonesia.

Diego: [00:18:47] follow up on it. Was there any inspiration from that experience that I guess got you to like to organize the Indo film festival in 2019? Like looking back to your roots and where that comes from? Yeah, cause that was a very particular event and the way you set it up, they will showcase filmmaker from a Javanese descent as well. So how did that come about.

Suleigha: [00:19:11] Yeah. So basically, it was the roots. I wanted to do something with my roots, you know, in the Nisha. And what I noticed in filmmaking is that independent filmmakers in Indonesia, they spoke more with abstract images. So that was kind of a trend coming up that year, that abstract images without really language, without verbal language was really popular during that time.

So I really wanted to show people how they told their story without a language barrier, basically. So with, with moving images, with costumes, with, with great art direction and, and, and great directing of course, and lighting and everything, and that’s. That was one of my purposes basically to also show like we have a lot of similarities, even though we live in Suriname and we have to look at the things that, that we have in common with each other.

Because if I, I had one movie where they spoke rarely spoken Indonesian basically. And people didn’t really gravitate to work towards those movies. They did gravitate towards the people that look like them, but the language was really a barrier. So I noticed the films right at where more abstract images or the word the most well received.

Yeah.

Jean-luc: [00:20:22] You guys are killing me with the set design, because you have everything, the lighting setup the color, and I’m just bam all in your face. Bright colors. And I always want is changed his shirt because it doesn’t match with the background at all. So, yeah. Thanks for making me very, quite a conscious of this.

Yeah, that’s true. That’s true. My personality is see what, which shirt is actually available and it’s clean and which I can put on that’s a very male thing to do. So it’s, it’s good that you’re allowing me to say that on camera that’s it’s okay. as a man to just pick all the show that that’s it’s, but, but I think that’s, that’s a great introduction into something that I’ve, I’ve clearly noticed in a certain trend with everything you do is, is feel people feel at ease.

Me be okay with being yourself. And I, I do want to touch upon on, on how. How the journey was for, for yourself. I think everybody that, that tells others that it’s okay to be yourself had the similar experience and knows why it is important. So for you, what were all the things, all the things that you are interested in, how, how do you pick your spots and how do you decide like what I want to do next?

Suleigha: [00:21:39] Yeah. So that’s a great question. I’ve been on this journey for a few years. Actually. I came to Suriname a back, like a few years ago and I noticed the thing that really makes me decide to do something if it has to depend on is this is this one, is it, does this fit in my purpose? So basically finding your purpose, right?

Like, why am I here on this planet? Right. What is my goal and what do I have to do with all my talents? Because I, I can do a lot, but what is it that I’m supposed to do? So basically it wasn’t really journey for real journey for me to really look inside, you know, and really asked myself like, okay, because I have a lot of talents, it doesn’t mean I have to do everything.

You know, so what, what is my place? You know, so it, it was, it was something I really changed from, and that’s the funny part, because we spoke about Lobi Singi five years ago, but the filmmaker I’m right now a totally different person actually. And the next movie I’ll make will be totally different. So the only thing I have to say is find something that is true to you and don’t do, don’t do something because it makes you look a kind of way, or it makes you stand in people’s image in a kind of you do something that really makes you feel like this is you and it’s genuine to you. And your story is a story worth being told. I think that’s, that’s the, the, the, the rotor lane, the thing you have to follow, I think, yeah.

Diego: [00:23:05] Yeah. The red thread of fate. But I guess where did that, or how did that red thread of fate bring you to. Fashion. And what purpose did you see there in particular?

Suleigha: [00:23:21] Yeah. Yeah. That’s a good question. A lot of people ask me uh like why, why, why clothing actually? Because it’s, it’s very superficial. A lot of people think it’s very superficial. It’s really on the outside, but yeah, I’m going to go back to Paris. So a few years ago after actually Lobi Singi, I went to Paris for two years to live there, to dance, to dance Kizomba, and also to, to see a different culture.

Right. And I noticed that a lot of people that are dressed to tell their story. Like, it’s not only a shirt, it has a story. It has an essence. It has a soul basically. So it’s a reflection of their essence. It’s not just a t-shirt or something for them. And it really inspired me to really think about, okay, what am I putting on my body, actually, because if my clothes are a reflection of who I am, I want to be true to myself, right?

So I began venturing into the world of fashion and getting excited about it and really reading a lot and going to a lot of fashion shows and also being around a lot of people who enjoy fashion. I noticed a lot of people ask me like, Oh, where do I get my clothes from sometimes?

And where do I buy my clothes? And at a certain point, I was like, if I count all the people who asked me, I should maybe make a business around it. So that was really the reason why I thought like, okay, I’m good. No, I’m going to try something with this. And I, I saw that people are happy when I gave them advice on certain clothing or pieces and really enhancing why you should wear something and what it means to wear something.

And I noticed the smiles on their faces and also how it could change your life. Like really making people see who you are from the outside is a big thing, your image, right? So it was really something that. Eventually I’m really passionate about right now. And it also has something to do with the stories. I also tell it that’s the same idea actually, to really inspire people and make people see how we feel actually. So it’s the same as telling stories, but only with clothing

Jean-luc: [00:25:24] Diego, do you want to jump into some Paris questions? Because now I’m kind of, kind of curious no, I do want to know like a lot of people, I mean, I’ve been to Paris to Paris for different reasons. I also studied urban development. So I also looked at Paris from a, from a development perspective, but I do want to know, like most of us, we have experienced living abroad, but not many of us have, especially Surinamese I’ve experienced in Paris.

So how was the Parisian experience difference from living in the Netherlands? Like what, what, how has the rent, for instance, for living, was it more expensive or was it okay or do a, well, I’m getting it wrong.

Suleigha: [00:26:05] Yeah, it wasn’t doable actually. Compared to where I lived in Holland, I lived in basin that’s closely over SIM, so that was more expensive to where I, when I went to Paris.

So that was okay. I shared it also with a good friend of mine and girlfriends. So sometimes she came, so she paid half of the rent. So because she also loved dancing. So we went together. So we shared a room that was also nice, but it wasn’t really a big financial change going to Paris. I think the, the biggest, the biggest thing I noticed was that a lot of people really take their roots very seriously.

Like they really take it with them and really are proud of their roots. You know, they have it in their clothing and the way they talk and the way they dress, the things they do. If I, if I can only see it in Kizomba, the dance, they have a lot of African elements in the dance. So they’re really proud of their culture.

That was one of the things also in art. They do have a lot of influences from, from their motherland. It was usually Ghana or a few places South Africa and they really bring it and they’re really proud of it. And they’re basically celebrated for, for their roots. You don’t see you; you usually don’t see people who don’t carry something with them, you know? So that was a real thing. In comparison to Holland,

Jean-luc: [00:27:21] can we learn from that as Surinamese people, like from, from Paris that we all because Marlon here says in my DNA. So if we start. Appreciating. Well, of course we do it, but in Suriname we often only do it during national holidays when it’s a certain tradition connected to a certain way of life. But indeed like in small details is what you meant as well. And in art that you you’re a reflection of where you’re from comes in. So that’s, that’s kind of interesting actually.

Suleigha: [00:27:51] Yeah. And to add on what you said, indeed. I think the thing they did with the roots where they made it modern. So they made it into their own world. So they didn’t only like wore the traditional patterns on their clothing, but they also made it a more fashionable. Like they added a few elements of the Western societies to, to their clothing. So it made it more, more modern to them, so they didn’t leave it. I just that they developed a culture. So that was very interesting.

And you got a totally different mixes of, of, of, of, of, you know, of, of everything, music, clothing, art, everything. So I think in Suriname what I’ve noticed is, is that when we have culture events that it’s very traditional, right. And the tradition is good, but we don’t really do enough with, with what we have, like developed that, that, that the culture, you know, that, that the traditional, so I think if we do that more, we can make it more, more modern. I think that will be a good step.

Diego: [00:28:49] How do you think we could do that. And I guess from your experience in Paris, finding out about Kizomba I had to Google what Kizomba says so that when you send the information. Yeah. And yeah, it’s out of all the places finding that in Paris and two key words that stuck to me throughout this whole conversation that you kept mentioning of our stories and passion, and looking back to what I’ve seen, it’s, it kind of encompasses that in the way they, you know move and live.

So from that experience and your, I guess, passion for Kizomba as well as as the on the side, what do you think we could do here to, in your words, modernize these cultural and elements of roots

Suleigha: [00:29:38] yeah. Yeah. So basically, I think we have to look into the origin. Where does it come from really? And what is it? Why, why did they use this particular tradition? Like, I think we know the basic stuff about why something is like this or what happened, but I think we have to dig a little bit deeper and start close. Start with, with, with your, with your grandparents and ask them, like, how did you perceive something like this instead of, we don’t have to like really go outside, we have to start from the inside and check for, why did you use this and how did it affect you and how was your grandma parents about this. And when you get into the little details about something you can then work on, okay, how can I, how can I modernize this into my experience? Right? Because stories are basically a replica of each other, right? We meet stories that already are told in the past actually, but, but we make it into our own and add little, little, little details about ourselves and, and the time of course changes, but basically a lot of stories already told.

So I think we have to be brave to do that. I think another frame to try to do that and really look into what does it mean to me, like a, a good, a good example. Exactly. I use all of, all of the elements, basically in the movie in, in set design also, and in the art direction, you know, we had a lot of traditional stuff. We put, we put inside the scenes, but, but aside on is something like very traditional a city now, but you can make it into modern design, but use those elements without disrespecting of course the culture.

And that’s an important thing to know what you’re doing with what you’re making and, and, and, and that’s the thing. Also, you do have to respect it and make it into your own.

Jean-luc: [00:31:27] Yeah. So like when I was came back from the Netherlands, when I came back from Europe, after I studied, I joined, I went with my mom to the mall because I wanted to buy a sari.

For my then girlfriend, like as a surprise gift and the looks that I got in the shop from the woman working at a shelf V checking and holding us up, you feel it. And like, it felt so uncomfortable, and he felt so uncomfortable that I was like, okay, this is not worth it. It’s going, it’s going, it’s destroying my masculinity.

I’m not ready to accept this. No, it was really, it was really weird. We’re really looking and laughing and like, you know, and I was like, you know, I’m trying to buy a gift for my girlfriend. I’m trying to buy a sari for my girlfriend because I wanted her to have like, to understand what, what Surinamese tradition is.

And I do think what you mentioned is important respect for your culture. It’s not like you can just take any kind of a traditional or a ritual or anything and just modernize it and then don’t realize what the culture actually means or what it needs. And so I do agree with that, but I think we we’ve managed with food.

For instance. I’ve seen a couple of local chefs really use local ingredients on, on certain dishes that are traditionally done with, with other ingredients. I’ve also seen several artists also make clothing, a special design clothing, but it’s never, it’s not at a scale that it is So basically my question about that, how much of it is supply and how much of this is demand?

Or is it like a chicken egg because there’s no supply, there’s no demand because there is no demand. There’s no supply. So, so if we let us start with it, I think you gave, already gave people joining in and listening a good idea to start with, start talking with your parents. I think that’s a great, great tip, but also if you want to start, how can you find out what would work also from a commercial perspective and what wouldn’t.

Suleigha: [00:33:37] Yeah. So basically what I think is that you have to let people know why something is important, right? Because you might find it important, but what is the, what are the links that connect people? You know, when something like, why would they buy this? It’s it’s because of the story, it’s connecting people to each other.

So basically if you make, if you, if you would have bought the sari you know, and you would have made something new, totally new in, in your own design you would have to explain to people why you made something like this and what it means to you or the stories, and especially what you want to, why are you doing your, why is very important?

Like why did you make it? Because you had this experience with your girlfriend and you thought, you know what, I’m going to go back again. It makes it like, the story is really important. And also, what it means to take your culture, which you of course. And why, why would I, because basically I can buy another dress, but why would I wear a sari right. What does it add to me as a person? So I think telling that story is very important to let people know, like. What kind of strength it gives you and how the connection forms between you and your, your best of course, your past lives and also your family, what it means to you. And I think everybody has, has that sense of wanting to belong.

Right? So I think if we, if we can add the story and tell our story, like why we’re doing something, not only for the financial gain, of course, or for the popularity or something, but really because when we die, we wanna let something for the generation after us. That’s very important. So I think that link, that story will be very effective

Diego: [00:35:11] Coming back to your fashion and your designing and mixing matching styles. Is there a particular dress set piece of clothing that comes to mind in recent months that you’re particularly proud of, of the story that formed it? If you’re going to buy

Suleigha: [00:35:31] something for your girlfriend. So a particular piece of clothing, you mean like do you mean that yeah. That, that

Diego: [00:35:37] that you’ve done in the past?

Suleigha: [00:35:40] Yeah. So I think it’s more about the timelessness of clothing. I think it’s not really one piece it’s about buying something that you can wear when you’re 50 also. So it’s about knowing what you’re wearing. I think that, that, that element. What’s something I’m really proud of, you know, like really creating pieces or thinking of pieces that you can wear when you’re 21 and when you’re 50 or when you’re 32, like me. So basically, that was one of the things I was really focusing on. How can I create a time to style for people?

So when you go outside, you know, you’re, you’re not really following trends specifically, but you have something timeless. You can, you can take with you. So I think that was something I’m still working on, but I’m very proud of when it comes to fashion.

Jean-luc: [00:36:24] Diego I’m quickly going to go through the comments because Marlon also added when you dig into the root of things or the history of it, you come to have an understanding that changes your perspective of audit, but later you can have a dialogue in some sense in the warranty.

And then he adds, I think, to, to create a dialogue of the story is the key. So since we’re, we’re, we’re going into this topic of, because I think this is something a lot of certain means young, young Social want to do. They, they want to integrate, they want to find something in our DNA on our Surinamese DNA, especially to the NH that you can export to outside that you can sell outside of Suriname as well.

So when we start talking about it you’ve been in, in, in film, you’ve been in a film industry, the film industry now with Wiren but also a couple of other movies from certain producers that are. Actually getting popularity music that’s getting popular is music. That’s getting popularity in the Netherlands.

What, what would be, what kind of dialogue can we start aside from music and film to get people aware, like the talents that we have in Suriname and how much that culture could work outside of Suriname as well?

Suleigha: [00:37:37] Yeah. Yeah. I think, I think we should look at really what makes us unique. Right? What is really a concept that really makes us unique as a, as a society, right. And Suriname loss except from the fact that we have different cultures, but what binds us, I think what makes a family, a family. And I think when we have that story, we can really, really get people to move because I feel sometimes also in art and in, in, in also with friends a sort of separation sometimes, but it’s not because they don’t want to, but it’s because of ignorance, I think sometimes.

And that’s what I’ve noticed. Like not knowing enough about each audience. And I think reading like some sort of dialogue around why do people do what they do and have that they have different customs? You know what I like I had it brings people to an understanding, especially when I also, when I went to a Holland, when I had that moment and now recognize why, why that happen, you know, and it’s not offensive anymore.

So I think if we do that and, and, and really make a product, you know, together, and I think from different, different kinds of places and bring that together, I really have professionals who really know how to do, to bring it into a professional field to say no, when thinkers work together, I think we, we can really make something, but do we have to form one unit first? I think that’s important. The, the, the community has to come together first.

Diego: [00:39:01] How important is this outside perspective you think because it’s been recurring, basically every Surinamese is guest we’ve had on here has had experience experienced abroad, which kind of drastically or somehow change their perspective of their own country, where they come from.

And in some senses, appreciate it more so coming you mentioning, you know, having this dialogue and coming together, how much of an impact do you think that the outside perspective has on the people who haven’t been out yet and how, how could they share part of that experience? Do you think?

Suleigha: [00:39:45] Yeah, I think we should talk about, about what we’ve seen via dialogues or via films or via podcasts. We should talk about what’s different that we should also challenge what what’s different. You know, like we grow every time. Maybe we shouldn’t be afraid to say stupid stuff sometimes. Right. So I think the people who go outside have to really talk to the people here and, and, and, and start talking about their experience as the good and the bad. And I think the appreciations part is more because of, you know, when you come home and you have your customs, you’re used to, it’s more like a coming home feeling and it’s more relaxed and you really appreciate it more because outside it’s, it’s bigger, but it’s not you, it’s not you. And it’s, it’s this totally different feeling. Actually, I think that will be, that will be a way to talk about it more.

Diego: [00:40:34] Speaking of podcasts. I think that this is a nice place to go. Cause you also started did a podcast for a few seasons starting in 2019 called Hoe Duur is Passie, like how expensive is fashion, but quickly, I guess a little note on

before we go into the podcasting, this just came up the naming convention of all your, I guess productions Hoe Duur is Passie Markoesa Maggie style. Markoesa is passion, fruit. It has something to do with fashion. It has this, you can see it exuding from your what, like what you express. So. Can you give us the story or your way of thinking with the naming conventions with all of the things you’ve done? Just curious.

Suleigha: [00:41:24] Yeah. So basically, sometimes it’s super random because I think randomness is also, it’s also very new, very intriguing, but the, the name, the names you, you, you used, Markoesa, you know, because of the passion fruits, it’s very, it’s very literal.

Yeah. Just see that it’s about passion fruit then Markoesa the name is Suriname. It’s called Markoesa but you don’t call it like that in, in other countries. So I thought it was very unique and very nice. To call it that Markoesa and everybody loves fruit. Right. And sweet. And it sounds very feminine. So I enjoyed that name, but usually the thought process is I first think about the feeling actually, what do I want to portray to people, but what I want to tell, you know, and, and in the name of something defines everything, the energy of the whole thing you’re doing.

So basically, it has to have something with the land you’re standing on. So basically your, where you live and also with the feeling and then something that people can really relate senses to. So basically, taste or sound or something they see that’s very important. So you activate that sense and then you get people to be curious a little bit about your peers.

You need to get the taste in their mouth, or they smell something, or they think about something or they think about someone, right. That person or something, they, they they’ve done in the past or something. And then you can add your story to it. So I think that’s my thought process. And it’s, it’s really funny because my name, for example, and means Seduction.

So basically, I know that when I, and I, and I, when I make up a name, it has to, it has to be really something that attracts people. So that’s my essence. Right. I love to attract people to something. And I think all the names that they, they how do you call it? They bring up some sort of feeling inside of you. So, I think that that’s why the names are like that.

Diego: [00:43:11] Wow. Yeah, yeah.

Jean-luc: [00:43:15] Story. This, this is totally not scripted. I just want to bring this up because a lot of people don’t know this, but ineffable, the first name for Ineffable was actually Markoesa oh, yeah, we almost got, I always called Ineffable, Markoesa was but my founding partners were not having it actually.

So the reason, the reason, and I never, I, the, the translation to passionfruit part it’s, it’s an, even a dimension that I was not even considering at the time, but for me it was also Surinamese. It was very, very easy and quirky in the mouth but also the interesting thing about the Markoesa is that from the outside, aside from the outside, it’s very simple.

It’s very simplistic, beautiful, yet simple. And the inside is very useful. And very sweet. And from that perspective, I was thinking of naming the company, Markoesa, and then after a very broad brainstorming session the name changed to ineffable, but I think that’s a very, it’s really unscripted.

We never talked about this Diego, this is completely new for Diego as well, but it’s, it’s, it’s good that I get to get to share that story. And now I’m really happy that we don’t have two organizations with the, with the same name. I do really love the, and that’s something Diego said it, and I think other people will notice it as well.

If the deep. Dive deeper into everything that you’ve done. The strong connectivity with Suriname. I think that’s, that’s very interesting. We have a couple of comments as well. Jeff wants to jump into that. He says it’s a very informative talk love the talk what are the strengths of Surinamese and it’s people living in Suriname in diaspora, we aren’t aware enough of our strengths at a wonderful things that we are able to accomplish.

Working hard together. Brought a few guys and Suleigha will. You’ve done a lot. Yes, you have done a lot. And Jeff, thank you for joining and all the way from, from Belgium at Andy, I’m gonna do your comments. . Different order than you send them in, but he says, respect, hold the fish and trust the process guys, and you need to step out of the box and not going, Oh, it’s the outdoor experience. I might have read that wrong, but I think the message is clear. We need to step outside of the box. Marlon quickly wants to let you know. So I had that. He agrees on you with, with creating the dialogue and also quick shout outs from Stephanie giving her compliments. So thanks Stephanie from joining and as well.

Diego: [00:45:47] Yeah, I guess let’s resume the Hoe Duur is Passie podcast journey, where basically you also told stories from your experience, sharing your experiences in season one, it’s just kind of a monologue. Can you walk us through what got you start starting a podcast because podcasts aren’t even, aren’t really a thing. I can count the amount of people here on my hands. Who’ve actually, you know, con consistently released episodes for their podcast and you’re one of them. So in 2019, that’s two years ago, what got you into podcasting and how do you think this format could change the way people consume media and have dialogue, I guess.

Suleigha: [00:46:34] Yeah, interesting question. I’ve been thinking about that. Why did I do it? It started with a challenge, of course, but it was deeper than that. I’ve been on this journey on womanhood, you know, what is being a woman, actually, especially with a feminine energy, of course, and masculine energy, which we deal with as women, as modern women a lot.

So I wanted to create something for myself, a challenge where I didn’t have to use my face or my, my looks or something, or my womanhood, but only my voice and where nobody sees you basically. But you talk about your passion or a topic you’d like to talk about. So that was a challenge for me actually, to really get people to make people talk about certain topics via my voice, actually, and not via something else that the seduction part and everything.

So basically I really wanted to challenge myself by doing that and. Yeah. And that was also listening to a lot of podcasts at that time. So I enjoyed podcasts a lot about entrepreneurship, about love, about being a woman and stuff. So I was like, let me try this. And what I noticed that it was a funny thing at the end of the podcast, because the challenge was one year.

Right. So I noticed after everything that people said, the information was helpful, but they enjoyed my voice more. So it was more the feeling of relaxation. That’s what they enjoyed more than what I had to say, basically. So that was a fun discovery after that, like, okay, how did affect people and that people really enjoy it.

So, yeah, that’s the reason why I started it. Wasn’t really a challenge, a one-year challenge and I wanted to try something totally different, you know, set everything apart and see, see, like, what does my voice do? Because it’s a part of who you are as a woman, of course. And it’s not to be used in a. In a minute. Yeah. Let me see in, not in a bad way, but you can use it in a better way. Let’s just see that. Yeah.

Jean-luc: [00:48:27] where are you a little bit early on, on podcasting. Do you think it would have been different if you would have done it, like in 20, 20, our, this year?

Suleigha: [00:48:37] It could be, but it also couldn’t be because when I started it I was really figuring out, okay, how am I, how am I going to put an audio file online? What programs, what software should I use? And I had a little bit of experience with editing, of course, you know, with film, but I was really like, okay, what works? What would people like? Because I also saw your podcast. I was Googling before I started, you know, I was researching everything and I, and I saw this interview with two ladies. I saw two on soundtrack. No soundtrack. Is it called something?

Jean-luc: [00:49:11] Yeah. Yeah, it was. You saw one with PLU probably. And the one with Micha and Yoni in way. That’s true for Suriname online idea too. And music, artists of the one that I also did. Two, one with street soldiers, and one with Kenny B. And it was in 2014 and I, but that’s, that’s totally beside to find, but I never followed up, which is shame.

It’s actually quite popular at the time. But that’s why I asked the question too early, because you actually, of course you had the editing skills. I actually do, to be honest, because most people don’t know this in 2014, I started, I did four podcasts and two of the podcasts I did together with top 40 Suriname.

So I went to the studio, rented, kind of rented all theirs. They were, it was a barter deal, but they kind of ran it all via the studio for an hour. And I did this, these interviews and then they edit it for me. And the other podcast was together with radio 10 magic. And they also, I used their studio because at the time I wasn’t able to edit anything.

Because we’re talking 2014 here. And now last year when we started the forced first podcast, there was all of a sudden there was anchor and anchor did everything for us. We could just upload the file. They will do the distribution to Spotify. They do everything. And all of a sudden, it’s so much easier to do podcasts. And I was like, where was this? When I started out? So that’s where the question comes from.

Suleigha: [00:50:44] Yeah, I understand. And it’s quite interesting because when people don’t really know such a platform, it’s really fun to experiment, right? Like what works and what doesn’t work, because I really tried a few things. I first put it on. I first put it on. Wait. I think one of the platforms which you put it on. And also I tried YouTube after that, but it’s really weird. It’s a movie, right? It’s a picture. And it plays with, you only hear like the podcast. So I noticed that that worked like people know new YouTube and they clicked on it and they listened to it. That’s what they like. So it’s a really fun experiment. I think with that, like how can I keep people engaged without having to see me basically without movement, you know, with only. So that was very fun to experiment.

Jean-luc: [00:51:26] Thanks for making the exception now that you’re actually showing yourself as well.

We’re trying to just get it, but I think I quickly want to add that. The reason I stopped with SoundCloud is because of the storage is because you get yeah. You get one or two hours and then when it’s done, it’s done. I mean, this podcast, we would be able to upload one episode that it would be for a year ago.

The question of Gyanno as well.

Diego: [00:51:58] Yeah. Gyanno asks, are there plans for new seasons of Hoe Duur is Passie?  asking for a fan.

Jean-luc: [00:52:03] right. It’s actually saying I am that fan.

Suleigha: [00:52:09] Yeah. Yeah. Okay. Well, thank you for that question. Yeah, I know. Well, well, I was, I was thinking about starting again actually, but I think next year, because when I talk about something, it has to be off important to it’s important to me. Right.

So basically, like I said, I’ve been on this journey of discovering, what is it really? What is it about being a woman, right. And I just don’t want to talk about something that’s popular or that’s happening right now. I want to talk about something that’s timeless and it, women of my age or younger and older experience nowadays, you know, what are certain topics.

We talk about every day or you think about every day, but we don’t talk about it every day. So when I have a great topic, it’s also, when I make a movie, it’s the same. That’s the only time I’ll make it excuse my dogs, but they’re, they’re excited to eat thing, but what basically that’s when I’m going to make another episode. So it could be next year, I think maybe

Jean-luc: [00:53:09] so people are starting to dig into your past here and the comments at the moment. So we’ve got a follow up, follow up question. If I Gregory I’ve seen you in a Surinamese music video about dance, where you into dance music cardio back in the day. And will you ever do it again?

Suleigha: [00:53:25] Suriname was music video. What kind of, what, what music video was that I made? I made a short video when I was dancing in Paris with a girlfriend. It’s a form of Kizomba where you have to move certain body parts in every McElwee. I think he’s talking about that one actually, am I just made one a few weeks ago where I was dancing with a friend of mine. Who’s a really great dancer. His name is Romano and we made a movie. Yeah, it’s about three minutes or something, but that’s where I’m showcasing lady styling. So it also adds to the feminine part about being a woman, of course. And it’s not about only the sexual, the sexual part of dancing. It’s also about embracing following, because I think. Following is very hard. It’s very hard. Following is, is, is, is harder than leading actually, I think to follow. Oh, yes, it is. Yes, it is. Yeah.

Jean-luc: [00:54:19] That’s a general, I mean, it’s one of the things you have to learn. If you’re, if you’re I don’t dance let’s, let’s create a straightaway

and I, Kizomba is a style of zouk is that this is something you can explain. And how do we explain  

Suleigha: [00:54:41] of course, of course Kizomba it started from sandbars from Africa. It’s more traditional it’s like biggie, biggie, biggie, yari music, and Suriname. Right? When you have music that Semba so Semba went to Europe.

And Kizomba was formed because they added like different kinds of music styles to it, like RNB pop music also. So music and it was called Kizomba so basically you know, when, when, when all kinds of people began to dance a style, it transforms into different styles, right? It, it develops into something new. So that, that Tarasha came out of Kizomba that Tarasha is more danced on popular music nowadays. Especially music from, from Holland. So that was funny. And that’s the link between Amsterdam and Paris actually, because Paris is the hub work is Samba, but all the artists who make is own music in Amsterdam.

So they traveled a lot of course, but it’s really funny how that exists right now. It’s still developing new styles around Kizomba that’s the fun thing about it. And I can, I can, if I had to explain it to somebody really short, it would be adding your own flavor of dance. It doesn’t matter if you do hip hop or something else into a few steps without having steps.

So, you know, counting like with salsa,

Jean-luc: [00:55:59] the process.

Suleigha: [00:56:04] So that’s the difference. You have to feel the beat and really listen to the beat and then step. So it’s not, it has no rules basically. And I think that’s the fun thing with Kizomba.

Diego: [00:56:16] Interesting.

Jean-luc: [00:56:20] So, could I get you saying Africa?

Diego: [00:56:24] You just mentioned you made us a second video that’s out. So for the people want probably wanting to know where can they see that. So, and maybe that’s also another question here about Lobi Singi. So to address all the content you’ve created so far, where can people see Lobi Singi be seen if they haven’t seen it? Where can they find your dance stuff for the podcast? Where can they go to? So we address all of this in one go.

Suleigha: [00:56:52] Yeah. Thanks for being interested in seeing the movie. The, the dancing videos will be online. I think in about three weeks, I will be putting it on Facebook, I think, and on YouTube. So I’ll just add the link.

I think when it’s maybe to your listeners also, I can send the link, but I will be putting it up on YouTube. On the  or the YouTube name would you specific? So that’s where you can find it and the Lobi Singi movie. That’s quite a story actually, because when I, when I, when I made the movie, I eventually thought I would put it on YouTube, right.

For everybody to see. But in a way the movie didn’t feel done. It didn’t feel like I really had the final edit. And now it’s been five years to six years further, but I still don’t feel like it is the last edit. So we had a lot of scenes we filmed and we didn’t use in the movie. So in a way I’m still thinking of adding some scenes in the movie to make it really done.

Is that

Jean-luc: [00:57:50] just have to make part two. You just have to see you too.

Suleigha: [00:57:55] Yeah, because we had the idea for part two, actually, we’re going to film it. And first we are going to Miami to film part two. So we already are writing part two, actually. So yeah, but we did the movie. Yeah.

Jean-luc: [00:58:09] I have to be honest. I’ve been trying to watch Lucy on, on the Fiado I still have to ask who else, why I can actually watch the movie. Maybe it’s my own login problems, but is it, is it, is it a fan of well on Fiado or is it because of edit? That is

Suleigha: [00:58:27] no, it’s not actually, it’s not, it’s not available on Fiado not yet.

So I think I’ll be putting it up this year for sure. For sure.

Diego: [00:58:34] All right. So just a little more waiting Stephanie, and then we can hopefully get a part two soon too. And I, I would say, I think if, if people see it and they want more gives you more reason to, and if more people want it, that’s how the dynamic works. I think,

Suleigha: [00:58:53] I think also, sorry that I didn’t mean to stop you, but just like Jean-luc actually said it wasn’t, it felt like it wasn’t the time yet to release the movie to the public. We had a lot of screenings at different places we had thought he also, we had that Veronica few viewings, but I feel I had to wait a little bit more also before I would really release it to the public, because I think at that time it wouldn’t have made the impact. It should have made like maybe in a year or something. So I think maybe it wasn’t the time also. It wasn’t really a feeling why I didn’t, I didn’t release the movie yet. So yeah. I felt close to it this year and it will be coming soon. I promise.

Diego: [00:59:34] Hmm. That’s great. Speaking of timing, I guess your, your timing with a lot of stuff has been, I I’m, maybe I’m saying it wrong maybe ahead of its time. Like the movie 2016 podcasting 2019. So how, how do you get in a way ahead of the trends and how do you feel that it’s right. Stop our go to the next thing. How do you process that?

Suleigha: [01:00:06] I work a lot on feeling, right? Sometimes it’s hard to explain, but basically what I can say is this journey I’ve been following. Like I told you, this is why, what is it being a woman? What is it being a man was very important to me. I think I just followed on that because I think we, as people in society, don’t really always fit the roles we have to fit. Like we usually act in a way so people can accept us. Right. So I wanted to really, really be myself.

So everything I do is it’s, it’s, it’s part of that journey. Like I really want to put stuff out that can be useful to people and not just to be, to, to, to have a certain. Reaction from people. That’s not what I’m aiming for. So it has a lot to do with that, like my journey and also like it has to mean something to do to somebody who’s watching it or else I shouldn’t make it. So I think that’s the bad I’ve been following these five years, actually. Yeah.

Diego: [01:01:01] That’s pretty cool. It’s more like an inward journey for yourself that happens to come across all these things you’ve done that quits. Coincidentally were like, you know pretty early on in that part of the industry or. Whatnot. And Randy says it here is the discovery of your journey. And I don’t think that’s something that stops especially how we see you now, like moving all in, in a fashion. So I think to wrap up my part, what is next for Suleigha and I guess one recommendation you would give to women, especially cause you are very strong woman who are maybe in a, like at a point where you were like five, six years ago, when you started this journey, what advice would you give them?

Suleigha: [01:01:55] Yeah. First, my, my journey will be Margie, which I started last year. And also I’m working on a movie right now. It’s not part two of Lobi Singi, but it could be seen as support to all of you seeing different view, but it’s also about Suriname. So it’s going to be in Suriname.

What I would advise people to do basically is to really be true to yourself. I think that’s the important thing you have to do and really challenge yourself on what you think. Because like I said we, as women have to be like followers, we, as women have to be nurturing, you know, if you stop and, and, and usually when you start as, as a young woman, you get, you get thought like, you have to be independent, you have to do this on yourself and stuff.

And we get into fights. We don’t have to get into, we challenge men, which we don’t have to challenge men. You know, we have to, we have to challenge ourselves and be feminine and be a woman and not try to do stuff men do. And I think that that’s the part that gets us into a lot of trouble in relationships, but also in real life.

So if you, if you try to be more of who you are, things will flow and you just have to follow that. And it will come at a moment like randomly, super randomly, the idea will come and you will feel like this is what I need to do, but you have to try to really stay in your femininity as a woman. Of course, as a man, you have your masculinity, of course.

But as a woman, what does it mean to be a woman? I think that is the first question you have to ask yourself. And then who am I? And then just follow really? What, what comes to you? I think that is the important thing to do and not be afraid to fail because, and I started a podcast. I also was like, okay, nobody’s gonna listen to me B and the topics.

I don’t really know if people ever listen. And, but you have to trust that everything you do, you feel like doing, and it feels good. It’s part of your journey and it will end up in something and it doesn’t have to be what you envisioned maybe as a lot of money or are a lot of feelings or maybe something else.

It will end just the way it has to end for you. So you have to trust that process and also getting, getting, getting further in life. You will notice like, Oh, this is why I did this. Now I understand why I have to do this. So you will have no doubt, basically at a certain point, you will just know, you know, I have to trust this blindly because it will lead to something.

And I think that is very special. And when you achieve something, when you did something blindly, that’s the reward and then you touch people and then you, and you create something and that’s, that’s thanking the sign of an artist to do this, to shorten that. Yeah.

Jean-luc: [01:04:30] It’s, it’s amazing because basically you not only answer Diego’s question, but you also answered my last question, which would be because we struggle with this. And I, I tell this story a lot. We struggle. The disallowed in Suriname. I think our generation is a little bit, the last generation that was being brought up with, if you’re going to study, you’re going to have to study medicine. You’re going to have to study economics. You’re going to have to study law.

That’s, that’s what we learned. Like my generation learn those three topics. If you’re going to study medicine, economics, law, then you’re safe. Then you’re going to have a good job. People will respect you. And all other studies are like below those three, that’s kind of how we were, were raised.

And. I think for a lot of people, also a lot of young professionals, things are really changing. We have the internet it’s more accessible now. But still a lot of people are afraid. Not, not just the feel, but afraid to disappoint others for making their own decision, going their own path to listening to what they would like to do, especially in the creative scene.

I mean, the, the answer is always, you can’t earn money from film. You can’t earn money from music. You can’t earn money from poetry, from culture. So what w to, to elaborate a little bit, a little bit more on your last answer, what, what advice would you give a young or young professional listening now who really wants to go into the creative scene, but is worried. Like, I won’t be respected as, as much if I would study economics or law or medicine.

Suleigha: [01:06:04] That’s a great question. I think you have to think the other way around, you have to think. You have to start at the end and then go to the beginning yourself at the beginning and then to the end. Right? So basically, you have a goal, you have a vision, right?

You want to do this and this work from that way to the back. Okay. If I had this, what should, what would I have done to get to that point instead of it’s too far, I don’t know what to start with. Like thank you already have it. I think that’s an important thing, you know, to already feel like you have it.

So when it, when it happens, it’s not a surprise. So I think working backwards. So really it’s a really, it’s a good thing that also worked for me, not the other way around. So that’s, that’s something. And I think especially I think you have to make a plan for yourself. Like how will I reach a certain goal?

Right. A plan like starting from finance also, because finance is something we forget as artists. Usually you have this big dream and we work everything out to the T and then we think, Oh my God, I have no cash. Right. But if you know exactly the amount you need to get something and somebody asked you that amount and we can give you the money, you know, the amount you don’t have to stop.

It it’s too much, you know, but you have to just keep it in your mind, in the back of your mind. And then it will happen in a way, you know, but I think the hardest thing is to keep being motivated. I think that’s the challenge, the motivation part, like when it, when it takes some time, like why, what do I have to do to keep on going on?

So I think that’s the part, when some people stop. Chasing a dream or going after a dream, I think is the most motivation part. And you can read everything you like, you can watch movies where people motivate you, but it’s only for a moment, right? So basically you have to have a bigger efficient, you know, it’s not only, I want to make a Marvel movie.

It has to be, why do I want to make a more of a movie? What, what, you know, why is it because I want to show myself that I can make more of a movie or is it about, you know, people actually seeing, Hey, it’s a good filmmaker that that’s, that’s not a purpose, which I would recommend, I would think, okay. I want to inspire people that something is possible.

That’s a whole other way of seeing, seeing something like this, instead of it’s about validation, right? Because that’s, that’s what most of us want validation. So basically think of, think of a bigger picture. And sometimes it’s not, the Marvel movie are supposed to make, but it’s the independent movie you’re supposed to make it.

Guyana or Brazil, it could be something like that. And that will be your biggest work. So basically think about why do I want something? And if it’s for selfish reasons and I mean, like I’m getting acknowledgment, it’s, it’s short-term I will promise you it will happen and you will be disappointed, basically fulfilled in the best way. So that’s something I would recommend.

Diego: [01:08:55] Quick, final question. You probably answered this here and there already, but specifically this question came from a friend and you probably are also, we’ve also worked with, but what sets your soul on fire to keep you motivated?

Suleigha: [01:09:12] Oh, great question. I love that. It makes me think.

Jean-luc: [01:09:15] Did you add a sound edit into that?

Diego: [01:09:19] I dunno.

Jean-luc: [01:09:20] No, it’s almost like I heard, heard a heartbeat. What’s your fire devotion

Suleigha: [01:09:31] for me right now. It’s about it’s my mom, actually, one of the things is my mom, but also when I talked to depo and they get Mo they they’re demotivated, like they’re sad or something. I know I feel some kind of energy in me weakening. Like I want to help somebody or I want to. Make something with those people.

Each I have when I talk to friends sometimes it really does something to me when somebody doesn’t believe in what he’s doing or, or doesn’t see a way out, you know? And, and I think that those two things really, really make me want to move, but, but it’s it’s, this is my mom. I did the number one place, you know, she’s really special to me.

So she’s really an important factor in my life. And what gets me like waking up every day, basically like doing what I’m supposed to do is just fate. It’s really fate blind fate because sometimes, you know, I don’t know if it’s gonna work right. And it’s scary. It’s super scary, right? Oh my God. Anything can happen, but it’s really blind faith.

And also trust that even if it doesn’t work out the way you envisioned it, it’s going to work out the way it’s supposed to work out. So trusting something unseen is, is one of my. One of my motivations actually, and just really saying to myself, like there is something I’m supposed to do on this earth, because one of my purposes it’s really dying, empty and empty, meaning I want to have done everything I’m supposed to do.

So I travel light when I go away, right. So I want to put myself physically, mentally, emotionally in that state. So I can be used to tell a story or do something to get into that vibe, you know? And that’s where the healthy living, where the emotional wellbeing comes into play. So when you create an environment that you can do what you’re supposed to do, physically, mentally, and emotionally, you will do what you have to do. It’s, it’s, it’s really the law of nature, basically.

Diego: [01:11:32] Wow. And that is

Jean-luc: [01:11:35] why she’s done so much.

Yeah. That’s, that’s a really, really interesting perspective on life. Thank you so much for sharing that Suleigha we have to ask one final question. If people watch this, if people listen to this where can they connect with you? Which platform would you like to allow people that are listening in to contact you on?

Suleigha: [01:12:00] Yeah, so basically I think Facebook is a good platform. You have, I have a few pages. I have Margie of course, Margie lifestyle, and I have the  page. And also you can add me on Facebook, on there, my names, Suleigha Winkel and that’s where you can contact me basically.

Diego: [01:12:18] Awesome. We’ll add those in the description.

So if you guys check in later also with the website Margi lifestyle, which is beautifully done, by the way, I could see the set design and everything in the draft side. So compliments to that. And as always guys, this episode will be released in the podcasting platform, so on Saturdays. So share with your friends share with the women in your life, especially.

And yeah, I think that is a wrap from our side. Suleigha thank you so much for sharing your story with us and yeah, it’s been over an hour again as always, so yeah, so with that being said, Jean-luc any closing thoughts and then you can roll this out.

Jean-luc: [01:13:05] I think this comment said it very well. We’ll leave you guys with the last comment by Randy, the discovery of your journey.

That was what today was really about. This was Social Confoes. We’ll be back alive next Tuesday at nine o’clock Glock Suriname. Surinamese time. Thank you for watching. And bye.

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