Sienna Morgan is a literary artist from Rocky Mount, North Carolina. Guided by intuition and spiritual inquiry, her creative practice moves at the intersection of faith, family, and fine art. Through poetry, short fiction, and essays, she explores interior landscapes, personal mythologies, and the quiet power of individual narrative. Her work has appeared or is forthcoming in Colorism Healing, The Black Light Project, Black Oak Society Magazine, midnight & indigo, The Arrow: A Journal of Wakeful Society, Culture & Politics, North Carolina Poetry Society, Black Disability Institute (BDI), and Kinsman Quarterly. She is the Founding Editor of BIPOCRYPHA Magazine, a space devoted to celebrating Black spiritual expression and creativity.
The day I turned 19, the fundamental structure for BIPOCRYPHA Magazine materialized within me, a skeletal framework that promised a powerful and meaningful project. That day, my sister Brittany M. Armstead, the Managing Editor, and I traveled to Raleigh, North Carolina, to visit the North Carolina Museum of Art, where we wandered through the Italian, European, Renaissance, and Judaic art galleries, admiring the masterpieces within.
I was immediately drawn to the Judaic art, its ancient and personal significance and inspiring allure making it the most memorable part of the exhibit. Seeing the Torah Shields and Cases, and learning of their purpose as artistic ways to show respect for the Torah and fulfill the commandment in the book of Exodus to beautify ritual objects, brought about a creative epiphany.
The Judaic art gallery’s mission is to illuminate the spiritual, cultural, and aesthetic heritage of the Jewish people through its collection of ceremonial art. Inspired by the gallery’s commitment to sacred art, I envision BIPOCRYPHA Magazine to become a sanctuary for showcasing the artistic expressions and rich religious heritages of Black creative believers.
My artistic journey, now at age 28, still draws heavily from the enduring beauty of Classical and Renaissance art and literature, and the historical depth of Hebrew culture, but most recently, the captivating storytelling of African mythology and African American folklore, and the syncretic spirituality of enslaved Africans. Through song, coded messages, and double entendre, enslaved Africans used art to spiritually and physically free themselves. This pointed to their intellectuality, resiliency, and creativity.
It is my honor to release this labor of love on Black Poetry Day—October 17, 2026—because there is no day more perfect and representative than this one. On October 17, 1711, Jupiter Hammon was born into slavery in Long Island, New York. Every year on October 17, Black Poetry Day is observed to recognize every one of the skilled African American poets, old and new. Irrespective of your ethnic heritage, if you enjoy reading, writing, or poetry, you’ll adore Black Poetry Day since it allows you to honor black culture and history. In remembrance of Jupiter Hammon, the first Black poet to be published in the United States of America and the man who is often considered to be the father of African American literature, Black Poetry Day is celebrated. Black Poetry Day is a day to honor the literary achievements of Black poets and to commemorate the representation of the Black experience in poetry.
Hammon understood the importance of encouraging and supporting other Black writers, especially at a period when Black writers were not frequently given the same support as their white colleagues. Today, there are tens of thousands of gifted black poets writing in spoken-word, rap, and other forms on both the universal Black experience and their own particular experiences. Although Black Poetry Day is observed around the country, only Oregon has declared it an official holiday.
Like Hammon, I still feel an urgency to inspire Black voices—especially those brimming with hope, eyes fixed on a future unseen. My identity as a Black, faith-filled literary artist deeply shapes my work. With this call, I envisioned BIPOCRYPHA as a beacon for Black people of all faiths, a guiding light. I wanted contributors to submit work honoring our ancestors’ spirituality and creativity. I inherited Christianity from my mother and father, a legacy I cherish. Also, like Hammon, I believe it is the duty of Christians to pass religious teachings and God’s works from one generation to the next through diligent instruction and storytelling.
In the submitted works, you’ll see how faith, resilience, and hope mold every verse, every fiber of cultural and spiritual identity. In this issue, we examine the current manifestations of spiritual life within the realm of African American poetic expression.
