ACCRA [dot] ALT
Dope music. Fresh art. Brave Indie cultures. Subversively African
ACCRA [dot] ALT
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Cuba brings doctors and America brings 3,000 military troops to stop Ebola…

"If the only tool you have is a hammer then every problem has to look like a nail" - General Wesley Clark.

My thing is this if something happen once it’s an accident.
If it happen twice it’s a pattern.
If it happen for the third time it’s a PROGRAM!

Africa must have the highest number of pastors/ preachers/ prophets inside & outside of the continent who claim to be anointed by the Christian god, but Africa have all the problems you can think of… That’s why young people are walking away from churches to stand in street corners & sell their things & young girls becoming prostitute just to survive, cuz they are sick & tired of kneeling down to a god who doesn’t care.

One of the most important thing that was stolen from us African people worldwide is our MIND… We will either wise up or vanish peacefully

“The most important weapon of the oppressor is the mind of the oppressed” Steve Biko.

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The I (via africa-will-unite)
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everydayafrica:

Mother Kapinga glazes her fresh-from-the-oven bread in the village of Kalomba. There are several ovens in the village where the women bring their dough to bake into bread when available. Kasai Occidental, Democratic Republic of Congo, July 13, 2014. Photo by Jana Ašenbrennerová @asenbrennerova #drc #drcongo #asenbrennerova (at Kasai Occidental)
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okokoroko:

Sometimes it made holes in our shirts. “Box Iron”. Photo: Francis Kokoroko 2014 #iron #coal #studentlife #ghana
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okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
okayafrica:

GALLERY:A Retrospective Of Rotimi Fani-Kayode’s “Black, African, Homosexual Photography” In London
Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York’s Pratt Institute.
Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist’s mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

“My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. […]
Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit – or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage”

Though his career spanned a brief six years, Fani-Kayode’s work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989)  retrospective in London commemorates the 25th anniversary of Fani-Kayode’s premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.
Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.
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everydayafrica:

Papa Wemba, Congolese musician and sapeur, an icon of local music, at his home in Kinshasa, Democratic Republic of Congo. August 2014. Photo by Jana Asenbrennerova @asenbrennerova #drc #drcongo #papawemba #music #congolesemusic #asenbrennerova (at Kinshasa)
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artdream:

Carnival Parade

Haiti c.1972
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accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
accrawalkintours:

Ghanaian artist Serge Attukwei Clottey after his awe inspiring performance at the Chale Wote Street Art Festival 2014 in Jamestown is now in Munich, Germany for a symposium. He did put up another awesome show for the people of munich. The performance titled “Home coming” “was to use African drums to connect and share the traditional symbolic meanings of dance and drum to the diaspora in Europe. And also to migrate them back to African.”
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kemetic-dreams:

Mobs lynched Mary Turner on May 17, 1918 in Lowndes County, Georgia because she vowed to have those responsible for killing her husband arrested. Her husband was arrested in connection with the shooting and killing Hampton Smith, a white farmer for whom the couple had worked, and for wounding his wife. Sidney Johnson. a Black man, apparently killed Smith because he was tired of the farmer’s abuse. Unable to find Johnson. the killers lynched eight other Blacks Including Hayes Turner and his wife Mary. The mob hanged Mary by her feet, poured gasoline and oil on her and set fire to her body. One white man sliced her open and Mrs. Turner’s baby tumbled to the ground with a “little cry” and the mob stomped the baby to death and sprayed bullets into Mary Turner. (NAACP: Thirty Years of Lynching in the U.S. 1889-1918 )
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accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
accrawalkintours:

VILLY’S “Let’s Play” EP
Two months after his mega “UNCOLONISED” concert at Alliance Francaise, Nigerian Afro-fusion singer, Villy is out with an amazing EP titlted “Let’s Play.” The singer who has the passion of enlightening Africans through his music said “This EP represents my first romance with live music as a performer. And it introduces people to the form we have chosen to express ourselves in.”
The singer who is signed on to Blank Creation Entertainment is set to embark on an African tour later this year, and a possible European tour in 2015. (Watch out for tour dates)
We are happy to share with you guys the awesome Afro-funky EP “Let’s Play” …. Listen to it here LET’S PLAY

Photography by: Selorm Jay
+
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
Lots of memories from our last trip to Victoria Island and Abuja before it got hectic. It was a working trip documenting transport systems within Nigeria - miss the Amala and ogbono soup. Ok don’t be wowed by the Hilton in Abuja, its crazy overrated and they charge for breakfast after you pay $450 a  night for lodging. We love Abuja to bits though, so much has changed since we last came through in 2007. 

photos by Kofi Anti
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immigrantslenz:

- Kunfu Funky -
@steloolive looking Kunfu funky this awesome street style fashion at @wanlov’s concert at the Republic Bar + Grill inside Osu. You looking for style? Then Steloo got it all!
 Photo By: Nana Osei ~ 2014
#Accra #Ghana #Africa #accradotalt #art #streetstyle #fashion #kunfu #funky #DJ #streetphotography #Osu