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ARTS & CULTURE

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

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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

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ARTS & CULTURE

Ijele Masquerade: The “King Of Masquerades” In Igbo Land

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Ijele Masquerade: The Strongest Masquerade in Igbo Land | fab.ng

The Ijele Masquerade, often referred to as the “King of Masquerades,” holds a revered position in Igbo culture. It is not only the largest masquerade in Africa but also a symbol of unity, spirituality, and cultural identity among the Igbo people.

Its towering presence, vibrant artistry, and profound symbolism make it a centrepiece of Igbo traditions.

The Ijele Masquerade originated in southeastern Nigeria, particularly in Anambra and Enugu states. Oral traditions trace their roots to the Akwunechenyi dance group in Umueri.

It began as a celebratory and protective figure, initially created to intimidate invaders and celebrate royalty. Over time, it evolved into a cultural icon representing greatness and the Igbo people’s connection to their ancestors.

Standing between 12 and 15 feet tall, the Ijele Masquerade is a marvel of craftsmanship. It is constructed from bamboo, colourful fabrics, and intricate carvings.

Its structure is divided into two segments: the upper (Mkpu Ijele) and the lower part (Akpakwuru Ijele), separated by a symbolic python figure, Eke-Ogba.

This design signifies the balance between the spiritual and earthly realms. The preparation of the masquerade requires extensive collaboration, with over 100 men working for six months to complete its elaborate design.

Cultural and Spiritual Significance of Ijele Masquerade

The Ijele Masquerade embodies the collective spirit of the Igbo community. It is a representation of the ancestors’ guidance, protection, and blessings.

Traditionally performed during festivals, burials, and special ceremonies, the Ijele is believed to have spiritual powers, such as warding off evil spirits, promoting fertility, and bringing healing.

Its performance is both a spectacle of entertainment and a deeply spiritual ritual that connects the living to their heritage.

The Ijele Masquerade is a highlight of Igbo cultural festivals, often serving as the grand finale. Accompanied by music, drumming, and traditional dances, its performance captivates audiences with its grandeur and artistry.

These events also serve as a platform for preserving and promoting Igbo heritage, attracting tourists, and generating economic benefits for the community.

Challenges Facing Ijele Masquerade

Despite its cultural significance, the Ijele Masquerade faces challenges in the modern era. Urbanisation, globalisation, and declining interest among younger generations threaten its preservation.

The elaborate nature of its preparation also requires significant funding and resources, which are often scarce. Additionally, cultural appropriation by outsiders risks diluting its authenticity and significance.

Efforts to preserve the Ijele Masquerade have gained international recognition. In 2009, UNESCO listed it as an intangible cultural heritage in need of safeguarding.

This recognition highlights the importance of supporting local communities to maintain their traditions. Advocacy for funding, education, and tourism initiatives is vital to ensuring the continuity of this cultural treasure.

A Symbol of Igbo Identity

The Ijele Masquerade remains a powerful symbol of Igbo identity and resilience. It is a testament to the creativity, spirituality, and unity of the Igbo people.

As it continues to inspire pride and admiration, the Ijele Masquerade underscores the importance of preserving cultural heritage in a rapidly changing world.

By supporting initiatives that promote Ijele, individuals and organisations can help sustain this remarkable tradition for future generations.

Its legacy is not only a source of pride for the Igbo people but also a significant contribution to the global appreciation of cultural diversity.

For further details about the Ijele Masquerade, see sources like UNESCO’s Intangible Cultural Heritage listing and articles exploring its cultural significance.

Read more on culture here.

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ARTS & CULTURE

Does Anklet Really Signify Promiscuity?

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Does Anklet Meanings Include Promiscuity? | fab.ng

What is an anklet?

An anklet is a versatile piece of jewellery that women typically wear around their ankles. Crafted from materials like chains, beads, or a mix of both, anklet meanings vary across cultures and styles.

Many fashionable women choose anklets to make a bold style statement, embracing their elegance and charm.

In Nigeria, people often call this accessory a “leg chain” or “ankle chain,” reflecting its cultural relevance. In pop culture, it’s popularly known as an “ankle bracelet.”

Anklets here focus more on fashion than symbolism, though interpretations can differ. With various styles and intricate designs available, anklets offer countless aesthetic options, allowing women to showcase their personal flair.

Ultimately, anklet meanings can be deeply personal, influenced by tradition, culture, or simply individual taste.

Cultural and Historical Significance

Throughout history, anklets have held different meanings across various cultures. While some view them as mere adornments, others have associated them with deeper, sometimes controversial, connotations.

In some societies, ancient and modern, anklets symbolise promiscuity.

Early Usage in Ancient Civilisations

Egypt is often credited as the birthplace of anklets, but India played a significant role in their widespread acceptance. In India, anklets were part of traditional attire, known as pattilu, payal, or nupu.

These terms also include Paujinupur and padapadma. Early Indian literature, such as the first-century epic Silappatikaram, mentions anklets, highlighting their cultural importance.

Rajasthani women were known for their elaborate anklet designs, reflecting regional traditions.

Among the Odisha people, gold anklets were once reserved for warriors, while brides included them as part of their wedding regalia.

Married women often wore anklets to signify their marital status, and dancers used those with dangling bells to enhance their performances.

Similarly, in ancient Egypt, anklets indicated social status. Wealthy women wore gold anklets, while silver or leather versions were common among slaves and the poor.

These accessories, known as menefret or kholkai, reflected one’s place in the social hierarchy. Interestingly, some accounts suggest that anklets were linked to temple worshippers and even prostitutes, though these claims remain largely unverified.

Modern Evolution and Symbolism

Over time, the meaning of anklets has evolved significantly. In the 1970s, during America’s “sexual revolution,” anklets became symbols of female empowerment and liberation.

This era emphasised women’s freedom to express themselves, including their sexuality. Consequently, anklets began to carry connotations of promiscuity, especially within the “hotwife” culture.

The “Hotwife” Phenomenon

A “hotwife” refers to a married woman who engages in consensual extramarital relationships with her husband’s approval. Various anklet symbols reflect this dynamic:

  1. Two male symbols and one female symbol: Indicate openness to relationships with men of any race.
  2. Queen of spades: Represents a preference for Black men.
  3. Heart symbol: Suggests a happy marriage that includes mutually beneficial intimate relationships outside the primary partnership.
  4. The key to happiness: Denotes a marriage where the husband’s extramarital activities are contingent on his wife’s consent.

Anklets in Contemporary Nigerian Fashion

Today, many Nigerian women wear anklets purely for their aesthetic appeal, often unaware of the historical or cultural associations. For them, anklets are fashion accessories, not symbols of promiscuity or class distinction.

Despite lingering societal judgments, especially within conservative African contexts, it’s essential to recognize that fashion choices are personal.

Women should not face harsh criticism for wearing anklets, as these judgments stem from outdated or culturally irrelevant perspectives.

In conclusion…

Anklets are versatile fashion pieces that have transcended their historical roots. While some cultural connotations persist, modern women wear anklets to express their style and individuality.

It is crucial to separate fashion from judgement and allow women the freedom to make their own choices about their bodies and accessories.

Let’s appreciate anklets for what they are today: beautiful, empowering symbols of self-expression.

Read more articles here.

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AFRICAN

The Only 4 African Countries That Have Won Miss Universe Title

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African Countries That Have Won Miss Universe Title | fab.ng

While many African countries have sent representatives to the pageant, only a few have managed to clinch the coveted Miss Universe crown.

The Miss Universe pageant is one of the most prestigious beauty pageants worldwide. It has been a stage for countless beautiful women to showcase their elegance, intelligence, and talent.

1. South Africa

South Africa is the African country with the most Miss Universe wins. This stunning nation has produced four Miss Universe winners:

  • Margaret Gardiner (1978)
  • Demi-Leigh Nel-Peters (2017)
  • Zozibini Tunzi (2019)
  • Andrea Meza (2020)

These South African beauties have not only captivated the world with their beauty but have also used their platforms to advocate for important social causes.

2. Namibia

Namibia, a small country in Southern Africa, has also made its mark on the Miss Universe stage.

  • Michelle McLean won the Miss Universe title in 1992.

This stunning Namibian beauty brought pride to her nation and continues to be an inspiration to many.

3. Angola

Angola, a country rich in culture and natural beauty, has also produced a Miss Universe winner.

  • Leila Lopes was crowned Miss Universe in 2011.

Her win marked a significant moment for Angola and showcased the beauty and talent of African women.

4. Botswana

Botswana, a landlocked country in Southern Africa, may be small, but it has produced one of the most iconic Miss Universe winners.

  • Ntsepa Motsepe won the Miss Universe title in 1999.

Her win was a surprise to many, but it solidified Botswana’s place in the pageant world.

These four African countries – South Africa, Namibia, Angola, and Botswana – have proven that African beauty is truly global.

They have inspired countless young women across the continent and beyond to dream big and pursue their passions.

As the Miss Universe pageant continues to evolve, we can only hope to see more African countries adding their names to this prestigious list.

Check here for more articles.

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