Biographical notes on the Basque-African woman Amaia Jackson (father from Tanzania and mother from Zarautz) and her interest in all the narrative platforms deployed around the Black is Beltza artefact constitute the narrative thread of the documentary showing the production processes of this whole conglomeration of actions. Divided into two parts, the first shows the transmedia development of the project, and the second “the making of” the animation film, all seasoned with interviews given by the artists and activists responsible for bringing about this explosion of creativity.