ARTS & CULTURE

Ima Mfon Celebrates Nigerian Identity In This Stripped-Down Photo Series

Published

7 years ago

June 17, 2017

Ima Mfon Celebrates Nigerian Identity In This Stripped-Down Photo Series

In 2015, photographer and visual artist Ima Mfon released his stunning series, Nigerian Identity, as a way to examine what it means to be Nigerian. And the series still feels as thoughtful and relevant today as it did two years ago.

In the series of portraits following Nigerians living in America, all the subjects are presented in a uniform manner: photographed on a white seamless background, looking directly into the lens, and enhanced so that their skin tones are virtually identical.

The homogenization of the skin tones in the project is Ima’s commentary on our society’s tendency to reduce people to just their colour.

We met up with Ima to discuss his love for photography, the inspiration behind the series and his plans for the future.

Q: How did you discover photography?

Ima Mfon: I discovered photography when I was about 14. My family went on vacation and my mother bought me a 4 megapixel digital camera. I began taking pictures of my surroundings and slowly became drawn towards the idea of documenting my life through photography.

It was still a very casual hobby for me at that point, however I started to get seriously into it during my undergraduate days at the University of Texas. I took a few photojournalism classes alongside my business classes and this was really the beginning for me.

What inspired your Nigerian Identity series?

I think there are many unique parts that make up who we are as Nigerians. This premise inspired me to express the idea of individuality, while still playing on the theme of similarity, and that is how the series was started. There are many different ways in which I could have executed this, but I have a fascination with skin, and wanted to convey and celebrate the beauty and richness of the black skin (which sadly we are often oppressed and marginalized for).

I also wanted to convey a sense of humanness and individuality, which is why every portrait in this series is staring intently at the viewer, inviting them to connect. This was the inception of the project but it grew beyond that. Most of the people in this series have interesting stories and have personal items included in their portrait which reveal a little bit about them. There are a lot of stories and secrets hidden in these photographs and this is partly what makes them so exciting for me.

What do you want people who see your work to take away from it?

My work sparks a lot of criticism, not everyone is a fan of my style or approach, but as long as people are talking about it, I am happy. The whole point is to get people to think. With my Nigerian Identity series, I present my own take on what it means to be Nigerian.

Several people disagree and offer their own counter views, and I find this exchange very exciting. As long as we are talking about our identity, we are collectively exploring it. So I guess you can say the main takeaway is for people to think more about these subjects and start having more conversations about them.

What can we expect from you next?

I’m working on a few different things right now so it’s hard to say. But for now I’m still interested in exploring things that relate to Nigeria so you can expect something along those lines.

See the Photos Below

George (shot March 24). Lives in New York City, photographed in New York City. George is a student getting his masters in City and Regional Planning. I chose him as a subject because he shares a similar interest in the subject of identity. He is pictured wearing his glasses, which are not a symbol of Nigerian identity. This image presents the idea that what we wear or possess does not necessarily give us our identity, as George is no more or less Nigerian than others in the series with Nigerian names or attire.

Ogechi (shot March 27). Lives in New York City, photographed in New York City. This image also speaks to the different ways in which Nigerian women choose to wear their hair and adorn themselves.

Ese (shot Feb 22). Lives in New York City, Photographed in New York City. She is an accountat and aspiring writer. I chose her as a subject because like me, she understood the frustration behind Nigerian identity, trying to balance your ownvalues with those that have either been forced or projected on you. Her headtie in some ways represents an aspect of Nigerian identity: It is normal for woman to wear headties or wrap their hair. It serves as a commentary on casual dressing in Nigeria

Damilola (shot February 22). Lives in New York City, photographed in New York City. Damilola is a luxury stationery and crafts designer: she makes specialty invites and cards for events ranging from weddings to graduation parties. I did not style her hair, I simply photographed it as she had it tied. This image speaks to the different ways in which Nigerian women choose to wear their hair and adorn themselves.

Florence (shot April 7) Lives in New York City, photographed in New York City. Most of the access I had was to a generation of Nigerians in my age group; and I am currently trying to expand the project to include people both older and younger than my generation

Folayan (shot March 21) – Lives in Washington D.C, photographed in New York City. Folayan is a friend who is passionate about the issues faced by black people living in America. He chose to support the project by being photographed.

Miriam (shot April 3) – Lives in New York City, photographed in New York City. Film maker and director. Necklace is an arabic word for beloved. I found this interesting because she is a Christian, and although arabic is not an Islamic symbol, it is a language that is usually more associated with Islam than Christianity. In a country that has struggled with religious tension, I thought this was a very endearing symbol of love.

Anthony (shot April 18) – Lives in Houston, TX, photographed in Katy, TX. Anthony is a financial anlayst. He is pictured wearing a traditional hat. This image speaks to the variety of traditional Nigerian attire.

Donald (shot on April 2), Lives in New York City, photographed in New York City. Donald is a musician working in the Afro Hip Hop/ Pop genres. Donald has a tattoo and earring, both of which express the individual, but would still be unconventional in traditional Nigerian culture. He also has on several necklaces, one of which is a “Jesus Piece”. Again these symbols do not make him any more or less Nigerian, and Donald as an Individual represents his own Nigerian identity.

Niyi (shot April 21) – Lives in New York City, photographed in New York City. Niyi is a fashion deisgner wearing one of the scarves he created. His scarves are designed based on traditional Nigerian methods and patterns, and this image speaks to the variety of Nigerian attire, and the coming together of traditional and contemporary.

SOURCE

ARTS & CULTURE

Here Are The 5 Oldest Tribes In Nigeria

Published

5 days ago

November 23, 2024

Adaeze Okechi

Over 250 ethnic groups thrive within Nigeria, making it one of Africa’s most ethnically diverse countries. Among these ethnic groups, some of the oldest tribes in Nigeria have survived for centuries, passing down their rich heritage despite the pressures of modernization.

Furthermore, these tribes have protected their traditions and maintained their ways of life, reflecting their resilience.

In this article, we dive into the histories of the five oldest tribes in Nigeria, exploring how they have upheld their cultural legacies.

1. The Nok Tribe

The Nok people are widely recognized as one of the oldest tribes in Nigeria. They lived around the area now known as Northern Nigeria. The Nok civilization dates back to around 1000 BC, making it one of the earliest known cultures in West Africa.

The Nok people are famous for their advanced artistry, particularly their terracotta sculptures. These sculptures, often depicting human figures, animals, and mythical creatures, are intricate and detailed.

Archaeologists have found these artifacts in present-day Kaduna, Jos, and parts of Kwara State.

Historical Contributions:

The Nok tribe is credited with pioneering iron smelting in West Africa.
They were skilled in making tools, weapons, and ornaments using iron.
Their artistic influence can still be seen in the craftsmanship of modern Nigerian tribes.

Though the Nok civilization eventually faded, its influence remains significant. The tribe’s artistic legacy provides insight into the early development of societies in Nigeria.

2. The Yoruba Tribe

The Yoruba tribe is one of the largest and most influential ethnic groups in Nigeria. Their history dates back over a thousand years, with roots tracing to the ancient city of Ile-Ife. According to Yoruba mythology, Ile-Ife is the birthplace of humanity, where the world began.

The Yorubas have a well-organized society with a rich cultural heritage. They are known for their elaborate festivals, colorful attire, and intricate beadwork. The Yoruba people are also renowned for their contributions to art, music, and religion.

Cultural Significance:

The Yoruba are famous for their traditional religion, which has influenced spiritual practices across the world, especially in the Americas.

They have a rich pantheon of gods known as “Orishas,” who govern different aspects of life.
The Yoruba language and culture have spread beyond Nigeria to countries like Brazil, Cuba, and the United States due to the transatlantic slave trade.

The Yorubas have maintained a strong cultural identity, preserving their language, customs, and traditions over the centuries.

3. The Igbo Tribe

The Igbo people are another ancient and significant ethnic group in Nigeria. The Igbos primarily inhabit the southeastern region of Nigeria.

Historians believe that the Igbo civilization dates back to 9th century AD, but their roots may stretch much further into antiquity.

The Igbos are known for their entrepreneurial spirit, love for education, and democratic systems of governance.

Historically, they practiced a decentralized system of government where communities were ruled by elders and title holders. This system, known as “Igbo-Ukwu,” is one of the oldest forms of democracy in Africa.

Notable Achievements:

The Igbo are skilled in arts and crafts, particularly in pottery, weaving, and wood carving.
They are famous for their mask festivals, colorful dances, and masquerade performances.
The Igbo language, customs, and traditions have been preserved despite colonization and the Nigerian Civil War.

The Igbos have a rich cultural heritage that continues to influence Nigerian culture and beyond.

4. The Kanuri Tribe

The Kanuri people are predominantly found in northeastern Nigeria, particularly in Borno State. They are one of the oldest tribes in Nigeria, with their roots tracing back to the Kanem-Bornu Empire, which existed as early as the 9th century AD.

This empire was a powerful Islamic state that played a significant role in West African trade, politics, and religion.

The Kanuri were instrumental in spreading Islam in Nigeria, and today, most of them practice the Islamic faith. They are known for their elaborate traditional ceremonies, especially during Islamic festivals.

Historical Contributions:

The Kanuri people contributed to the development of education and trade in the region, establishing schools and learning centers.
They were skilled horsemen and warriors, which helped them defend their empire against invasions.
The Kanuri language remains widely spoken in Borno and parts of neighboring countries like Niger and Chad.

Despite the challenges of modern times, including the impact of insurgencies in the northeast, the Kanuri people continue to uphold their traditions.

5. The Fulani Tribe

The Fulani, also known as the Fula or Fulbe, are among the oldest and most widely spread ethnic groups in West Africa. Fulani people are traditionally nomadic herders, traders, and warriors.

Their presence in Nigeria dates back to the 11th century when they began migrating from the Senegambia region.

The Fulani are known for their distinctive cultural practices, including their elegant clothing, rich music, and intricate hairstyles.

They played a major role in the spread of Islam in Nigeria, especially through the Fulani Jihad led by Usman dan Fodio in the early 19th century.

Cultural Highlights:

The Fulani are famous for their “Wuro,” traditional settlements where they practice a nomadic lifestyle.
They have a unique cultural festival known as “Sharo,” where young men undergo a public flogging ceremony to prove their manhood.
The Fulani language, known as Fulfude, is spoken across many West African countries.

Today, while many Fulani have settled in towns and cities, a significant number still maintain their pastoral lifestyle.

Nigeria’s oldest tribes have significantly shaped the country’s cultural, social, and historical landscape. Each tribe has preserved its unique identity, contributing to the rich tapestry of Nigerian culture.

Nonetheless, from the Nok people’s ancient artistry to the Fulani’s enduring nomadic traditions, these tribes continue to inspire pride and unity among Nigerians.

Understanding the history and contributions of these tribes helps to appreciate Nigeria’s diverse heritage. These tribes have not only survived the test of time but have also influenced many aspects of Nigerian life, from language to religion and art.

ARTS & CULTURE

Why Ancient Africans Were Naked And Didn’t Care About “Decency”

Published

2 weeks ago

November 16, 2024

Adaeze Okechi

Why Ancient Africans Were Naked And Didn't Care... | fab.ng

In understanding why ancient Africans were naked, it’s essential to consider the practical and cultural factors. The hot climate in many regions, particularly West Africa, made full clothing impractical, leading people to adopt minimal attire.

Additionally, why ancient Africans were naked also ties into the normalcy of nudity in their societies; it was not seen as indecent but rather as a natural part of life.

Moreover, why ancient Africans were naked often related to social customs where clothing was reserved for specific ceremonies or status indicators.

As colonial influences grew, European ideals of modesty reshaped these traditional practices. Nevertheless, understanding why ancient Africans were naked would highlight a deeper connection to their environment, social norms, and identity.

Nigeria’s First Lady, Remi Tinubu, asserts that “nakedness is not in our culture,” reflecting a modern interpretation of cultural values. However, historical evidence reveals that the concept of clothing and nudity in Africa was much more complex and diverse.

Let’s take a detailed look at some of the historical reasons ancient Africans were naked and didn’t care…

1. Clothing in Hot Weather

In ancient African societies, especially in regions like West Africa, the hot and humid climate made it impractical to wear heavy or fully covered clothing.

People adapted to their environment by wearing minimal clothing to stay cool. Women typically wore wrappers around their waists or occasionally over their chests, while men donned aprons or loincloths.

Full-body coverings were rare and often reserved for specific occasions or elder members of the community. The emphasis was on comfort and practicality rather than modesty.

2. Nudity Was Culturally Normal

Contrary to the notion that nudity was taboo, many African cultures viewed it as entirely normal and even symbolic. This acceptance of nudity is reflected in the art of the time, where sculptures, carvings, and masks often depicted the human form in its natural state.

These representations were not considered indecent but rather celebrated as part of the human experience.

Furthermore, even today, several traditional festivals in Nigeria and South Africa feature women participating in rituals while partially or fully nude, emphasizing that nudity was a culturally accepted practice in certain contexts.

3. Ceremonial and Symbolic Clothing

In ancient African societies, clothing was less about everyday modesty and more about symbolism and status. Dress codes were used to indicate social class, gender, or cultural identity.

Jewellery, headgear, and specific garments were reserved for elders, chiefs, or individuals of higher status, while everyday clothing remained minimal for the general population.

During ceremonies such as weddings, people would wear elaborate attire that covered more of their bodies, but this was primarily for symbolic reasons rather than for modesty in daily interactions.

Colonial Influence on African Clothing Norms

The introduction of European colonial rule brought drastic changes to how Africans viewed clothing. Europeans, with their Christian ideals of modesty, often regarded African practices of minimal clothing or nudity as barbaric.

They imposed their standards of dress as part of their broader civilizing mission. This was particularly targeted at women, who were often sexualized and criticized for their traditional attire, or lack thereof.

From the 15th century onwards, as Europeans increased trade and colonization, they brought new fabrics, styles, and notions of modesty. Indigenous African attire evolved, incorporating textiles like cotton, wool, raffia, and later, wax prints.

These wax prints, now synonymous with African fashion (commonly known as Ankara), were not originally African but were influenced by the Dutch colonization of Indonesia in the 19th century.

Africans embraced these textiles and adapted them to fit their cultural identity, eventually making them integral to modern African fashion.

In Conclusion…

Today’s perspectives often emphasize modesty as an intrinsic cultural value. However, historical evidence shows that ancient Africans had a much more fluid and practical approach to clothing.

For them, attire was primarily about status, identity, and specific ceremonies, not necessarily about covering the body for decency.

The shift towards the modern view of modesty largely came about due to colonial influences, which reshaped traditional practices to align with Western standards.

So, while the First Lady’s statement aligns with current societal norms, it doesn’t entirely reflect the historical diversity of African clothing practices.

As it is understood today, the notion of modesty is a relatively recent development influenced by colonialism and the spread of Christianity and Islam across the continent.

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ARTS & CULTURE

Here’s The Interesting Story Behind The Word “Boycott”

Published

3 weeks ago

November 9, 2024

Adaeze Okechi

Captain Charles Boycott: Story Behind The Word "Boycott" | fab.ng

The term “boycott” is now widely used to describe organized acts of protest where people refuse to engage with a company, product, or country as a form of pressure. While it’s globally accepted today, the word’s origin is surprisingly interesting. It traces back to a British land agent named Captain Charles Boycott.

Who was Captain Charles Boycott?

Captain Charles Boycott, a British land agent working for Lord Erne, a wealthy landowner in Ireland, played a key role in this term’s origin.

In the late 1800s, Ireland was under British rule, and tensions between British landlords and Irish tenant farmers were high.

Many tenant farmers faced unfair practices, including high rents and frequent evictions, especially during economic hardship or crop failures.

In 1880, a year marked by poor harvests, tenant farmers struggled to pay their rent and had no option but to request rent reductions. They hoped their landlords would understand their difficult situation and offer some relief. However, things didn’t go as they had anticipated.

The Conflict with Captain Boycott

In September 1880, tenants on one of Lord Erne’s estates approached Captain Boycott. They asked for reduced rents to help them survive the economic downturn.

To their disappointment, Boycott refused to grant their request and proceeded to evict tenants who couldn’t pay. This response seemed especially harsh, considering the widespread poverty at the time. Consequently, the community decided it was time to take a stand.

Irish politician Charles Stewart Parnell proposed a unique form of resistance at this critical moment. Rather than resorting to violence, he suggested a strategy of social ostracism as a way to protest.

Inspired by his advice, tenants and the entire community began to ignore Captain Boycott entirely. Workers on the estate refused to labour in the fields, local shops stopped serving him, and even the local postman refused to deliver his mail.

The Spread of the ‘Boycott’

The community’s collective action against Boycott escalated quickly, leaving him unable to find anyone willing to harvest the crops on Lord Erne’s estate.

Desperate to salvage the situation, Boycott hired workers from other parts of Ireland, but they required military protection due to hostility from the locals.

This effort became so costly that it far exceeded the value of the crops, highlighting the effectiveness of the community’s stand against unfair treatment.

The unprecedented event attracted significant media coverage. Soon, newspapers across Britain and Ireland began using the term “boycott”. They use it to describe the community’s collective refusal to interact with Boycott.

As news spread, “boycott” rapidly entered the English language as a term for nonviolent resistance through social or economic exclusion.

This form of protest, now known as ‘boycotting’, gained traction far beyond Ireland. It became a powerful tool for people worldwide to stand against injustice.

Captain Charles Boycott died long ago, but people still use his name when they use the term ‘boycott’. It symbolises the power of organized social resistance.

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