Dynamic Africa
Formerly, "This is Africa/fyeahAfrica".
(Profile Photo by Mama Casset)
DISCLAIMER:
I do not endorse any of the products or opinions shared on this site, nor do I claim any of the work posted here to be my own - except where stated. All posts originally made by me are credited. If no credit is given then the work is either my own/written by me or reblogged from another source.
A LITTLE ABOUT ME:
Student, 24
Based in Cape Town, South Africa
From Lagos, Nigeria
Want to advertise through us? Send an email to dynamicafricablog@gmail.com
(As an unemployed media student, all donations go into ensuring my survival in this cruel world and future projects I hope to embark on).
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(since Oct. 21th 2012)
My first short Film “GHANA” - A love letter to the place I was born and raised. Enjoy :) . #gyimahgariba
(via welovewestafrica)
Camp de Thiaroye (1988) - Ousmane Sembene & Thierno Faty Sow
“We’re back from Europe where we fought your enemies. Now we fight for Africa.”
![fylatinamericanhistory:
Cândido da Fonseca Galvão, also known as Oba II d’Africa (1845-1890) was a Brazilian man who fought in the War of the Triple Alliance (also called the Paraguayan War) and claimed to be the grandson of an African prince whose son had been brought to Brazil as a slave. Galvão himself was born a free man in Bahia, and enlisted in the military at a time when Black slavery was still legal in what was then the Empire of Brazil.
Galvão was the grandson of the powerful African prince Alafin Abiodun, who unified the Yoruba kingdom of Oyó in the late eighteenth century. Galvão’s father fought in the wars that raged in that region of Africa in the early nineteenth century, was captured in battle, and sold into slavery. He was then transported to Bahia. With the help of friends among the Yoruba community in Salvador, Galvão’s father quickly purchased his freedom. He then married and had children. As an offspring of freedpersons, Cândido Galvão was raised as a free black man near the town of Lençóis in the interior of Bahia.
Dom Obá II considered it his duty to fight for his country in the war against Paraguay. “As the patriotic soldier that I am, I understand that I have only been doing my duty in taking an active part in all the matters that I understand to be grave.” Enlisting as a Voluntário in the all-black Zuavo company that departed from Lençóis on May 1865, Galvão remained at the front until wounded in his right hand in August 1866. After his return to Bahia, where he remained through the decade of the 1870s, Galvão petitioned government officials for recognition of his service during the war and for monetary compensation. His experience in Paraguay inspired his commitment to ending slavery in Brazil and his pride in being a black man.
Galvão settled in Rio de Janeiro in 1880, where he gained renown. The wealthy considered him a “disturbed veteran” (uma espécie de veterano resmungão) and “folkloric aberration” due to his outspokenness and appearance in attire that included a long black morning coat, tall hat, gloves, umbrella, and walking cane. An activist of the first order, Galvão met personally with the Emperor [Pedro II of Brazil] 125 at public meetings from June 1882 to December 1884! Dom Obá garnered great respect among “the Blacks and the Browns” (the terms commonly used by Galvão) residing in the city. Slaves, freedpersons, and free persons of color all provided financial support that enabled the prince to publish articles in newspapers. In his writings, Galvão praised the contributions of black and brown soldiers during the Paraguayan war, condemned the racism he witnessed in Brazil, and called for an end to slavery.
(Source: Dale Torston Graden, From Slavery to Freedom in Brazil: Bahia, 1835-1900.)
Galvão died in 1890, shortly after the abolition of slavery in Brazil and the establishment of the Brazilian republic. An biography of Galvão, entitled Prince of the People, was published in 1993.](http://pt.wikipedia.org/wiki/Ficheiro:Dom_Oba_II.jpg)
Cândido da Fonseca Galvão, also known as Oba II d’Africa (1845-1890) was a Brazilian man who fought in the War of the Triple Alliance (also called the Paraguayan War) and claimed to be the grandson of an African prince whose son had been brought to Brazil as a slave. Galvão himself was born a free man in Bahia, and enlisted in the military at a time when Black slavery was still legal in what was then the Empire of Brazil.
Galvão was the grandson of the powerful African prince Alafin Abiodun, who unified the Yoruba kingdom of Oyó in the late eighteenth century. Galvão’s father fought in the wars that raged in that region of Africa in the early nineteenth century, was captured in battle, and sold into slavery. He was then transported to Bahia. With the help of friends among the Yoruba community in Salvador, Galvão’s father quickly purchased his freedom. He then married and had children. As an offspring of freedpersons, Cândido Galvão was raised as a free black man near the town of Lençóis in the interior of Bahia.
Dom Obá II considered it his duty to fight for his country in the war against Paraguay. “As the patriotic soldier that I am, I understand that I have only been doing my duty in taking an active part in all the matters that I understand to be grave.” Enlisting as a Voluntário in the all-black Zuavo company that departed from Lençóis on May 1865, Galvão remained at the front until wounded in his right hand in August 1866. After his return to Bahia, where he remained through the decade of the 1870s, Galvão petitioned government officials for recognition of his service during the war and for monetary compensation. His experience in Paraguay inspired his commitment to ending slavery in Brazil and his pride in being a black man.
Galvão settled in Rio de Janeiro in 1880, where he gained renown. The wealthy considered him a “disturbed veteran” (uma espécie de veterano resmungão) and “folkloric aberration” due to his outspokenness and appearance in attire that included a long black morning coat, tall hat, gloves, umbrella, and walking cane. An activist of the first order, Galvão met personally with the Emperor [Pedro II of Brazil] 125 at public meetings from June 1882 to December 1884! Dom Obá garnered great respect among “the Blacks and the Browns” (the terms commonly used by Galvão) residing in the city. Slaves, freedpersons, and free persons of color all provided financial support that enabled the prince to publish articles in newspapers. In his writings, Galvão praised the contributions of black and brown soldiers during the Paraguayan war, condemned the racism he witnessed in Brazil, and called for an end to slavery.
(Source: Dale Torston Graden, From Slavery to Freedom in Brazil: Bahia, 1835-1900.)
Galvão died in 1890, shortly after the abolition of slavery in Brazil and the establishment of the Brazilian republic. An biography of Galvão, entitled Prince of the People, was published in 1993.
FILM OF THE DAY: Guelwaar (Dir. Ousmane Sembene)
Burial of a Christian political activist in a Muslim cemetery forces a conflict imbued with religious fervor. A satiric portrayal of religion and politics, sometimes humorous, sometimes deadly serious.
Touki Bouki (dir. Djibril Diop Mambéty)
(via mizoguchi)
Nigerian goal scorer Ahmed Musa celebrates with a fellow Eagles player after leading the AFCON 2013 champions to victory in their 1-0 win over Kenya in Nairobi on Wednesday, June 5th, as part of the 2014 World Cup qualifiers.
Diminutive Russia-based Musa took Nigeria out of their 0-0 misery by scoring a uniquely-aimed goal that bounced its way into the Kenyan goal box.
As it stands, Nigeria lead their group with eight points, followed by Malawi with six, Namibia four and Kenya with two after four rounds. Only the group winners move on to the next round to eventually qualify for one of five places reserved for African teams at Brasil 2014.
Nigeria’s next challenge is the Confederations Cup that begins on June 15th in Brasil.
KUNLE ADEGBORIOYE
A Busy Day At Balogun (2008)
Oil and charcoal on canvas
134.6 x 134.6 cm. (53 x 53 in.))
The intricacies of braided hairstyles captured by Malian photographer Youssouf Sogodogo.
Born in 1976, Malian photographer Penda Diakité graduated from Promo-femme: Center for Audio Visual Education for Young Women in 1999 and after several internships and apprenticeships, she opened her own photography studio in 2002 called ‘Afrique Vision’.
Penda Diakité is one of the few women photographers is in Bamako, Mali, and she specializes in portrait photography as well as special events imagery.
Her studio photography, as seen above, carries the standard aesthetic format so often seen in studio portraiture in Africa, of individuals positioned in front of two-dimensional scenery.
(source)
My mother was a kept woman.
It was something we knew. We – my cousin Meze and I. It was something we knew without being told, the sort of knowledge that creeps up on you and without announcing itself makes your acquaintance.
We knew and even though we didn’t deny it it wasn’t something we went screaming from the roof-tops.
And we preferred that those who had gained this knowledge kept it to themselves.
I got my first black eye the day Damian bared the naked rump of my secret before the whole school.
“Your mother is fucking somebody’s husband!”
Ghanaian artist Amon Kotei (b.1915)
Nii Amon Kotei was a Ghanaian artist (sculpture, painter and musician) and surveyor.
Kotei was born on May 24, 1915, at La, near Accra, and belonged to the Ga ethnic group and trained as a surveyor. He was a distinguished artist and designed the National Coat of Arms on March 4, 1957. He was commissioned to do the design by Ghana’s first President Osagyefo Dr. Kwame Nkrumah and the then British Colonial administration as independence drew near in 1957. The Ghana Coat of Arms, found on all government official letter heads, is composed of a shield, divided into four quarters by a green St. George’s Cross, rimmed with gold.
He died on October 17, 2011 after which the parliament of Ghana paid tribute to him. (Wikipedia)
Works:
Top - ”Untitled”, oil, (1999)
Right- “Adei with Red Scarf,” oil (1960)
Left- “Landscape”, oil, (1996)
Bottom - “Untitled”, oil, (2000)
These were done by my great grandpa! :) Although he’s gone now, it’s nice to see that his work will be around for a long time.
(via nocturnalphantasmagoria)
DYNAMIC AFRICANS: Ghanaian photographer Yaa Annobil
Glancing through Ghanaian photographer Yaa Annobil’s incredibly captivating body of work, it’s not hard to become enthralled in the mostly black and white pixelated seemingly mundane, yet aesthetically captivating moments she captures. Moments framed as stories that seem interpretable solely between the photographer and those made eternal through these interactions. Wanting to know more, Yaa and I discussed his journey as a photographer and the intricacies of her artistic tendencies.
In about five sentences or less, tell us a little bit about who you are, where you’re based and what you do.
Put simply, I am a Ghanaian free-lance photographer, and I try to blur the lines between documentary photography and art. Aged 26, I am based in Accra, Ghana, but as I type, I am in London, making preparations for a photographic exploration of Nigeria.
I work with film exclusively – black and white primarily, and generally, I shoot with a cheap and battered old Pentax.
How and when did your exploration of photography as an artistic tool begin?
As a teenager I imagined I would follow in my father’s footsteps, and become a journalist / writer. However, my interest in the machinations of innumerable dictatorial regimes, coupled with a tendency to pen subversive critique, rendered this plan somewhat unwise (and dangerous). Consequently, photography is my ‘voice’.
I have always loved the art-form, but not the aesthetically beautiful & romantic, or deeply fatalistic depictions of Africa and the so-called developing world - 1D pictorial propaganda essentially. With this in mind, I picked up my ME Super at around 20, and decided to explore my country honestly.
You photograph almost exclusively in black and white, and there’s a very distinct relationship between the subjects in your photographs and you, the photographer, that is incredibly intimate without seeming intrusive. Stylistically, how would you describe your photography and photographic approach to your subjects?
Many of the people I photograph, live decidedly precarious lives. In simple terms, peace exists in Ghana, but its children have been failed theatrically. Though beauty is present in many things in Ghana, I sense sorrow in just about everything I see - specifically, I know the stories of everybody I shoot. I am never tempted to manipulate my subjects, as the decision to confront their pain, and not mask or avoid it, means interesting photographs simply present themselves to me.
Occasionally, I shoot in colour to capture potent societal irony, but something about textured greys and abyssal darkness appeals to me. I use B&W to capture deep emotion, but also the pain present in ‘the mundane’. I shoot the bulk of my images at night; surrounded by mosquitoes, stifled by heavy air, and the aroma of work-weary, sleep-deprived fellow countrymen.
What role does being Ghanaian - and thus, an African - play in your creative process, if any? Can you tell us a little about your experiences shooting in Ghana?
Shooting in Ghana breaks my heart, but I feel myself descending into cavernous misery whenever I leave the country (I think every African can relate to this).
As a Ghanaian I endeavor to capture Ghana as it is – epic magnificence AND tragic destitution. The latter angers many, and I am often pummeled with a barrage of accusations; apparently I am not a true nationalist, but this suits me, as I am driven by cultural obligation, and a deep commitment to my land - not childish denial.
In many ways, I believe Ghana is a microcosm of the contemporary African realty – without doubt, this informs my approach.
Why did you chose tumblr as a platform to showcase your work, and what are some of the highlights of your journey as a photographer thus far?
Tumblr interests me greatly. There is something interesting about viewing my images re-contextualized – working out what my work represents to a diverse batch of people is always enjoyable, often surprising, and always humbling.
Every re-post is a highlight.
Any future plans or projects you’d like to share?
Not too long ago, I traveled to New York, to work with amazing musician and extraordinary poet Kae Sun, and creative visionary / incontrovertibly remarkable / acutely intelligent Joshua Kissi. We created a collection of images of Kae Sun for ‘Afriyie’: his sophomore LP. I enjoyed this experience immensely, and I hope the world will like what we created.
My heart resides in Africa. I shall travel to Nigeria very soon, to complete an interesting project with my friend Nnamdi Awa Kalu. I also plan to explore the Northern regions of Ghana – particularly those ravaged by economic globalization climate change, and traditionally anemic governmental subsidy.
Where else can you be found? (other social media sites, official website, etc)
My website: www.yaaannobil.com
Thanks so much, Yaa!
Thank you :)
When I passed the windows yesterday
I passed into a night buttered
With stars like the yellow petals
Of the acacia on the black soil
On which it stands.
I plunged into a treachery of winding lanes
Into an eclipse of the sun.
I heard murmurs and groans of childbirth
And could not tell
From which unhinged door they came:
The doors were too close together.Three neighbours met,
And after a hurried, “I give you rest”
The two young men stood aside for the old man
To pass and then picked their way
In the opposite direction towards the alley
On the left.
They were thieves who robbed with violence
But still they stood aside for the old man
And he thanked them.In a bereaved world questions and comments
Fall on unhearing ears.
Only silence, understanding and
Belonging can put
A blind man’s stick in the hands
Of a searcher in that night.The crumbling walls have leaned
On their chests for decades!
The toll of breathing has shredded
Their lungs, and their eyes are sore
With the smoke of the wicker lamps.
And now we all stand at the edge
Of an abyss
Afraid to plunge headlong, or
Return to the dark of the night with them!
(via ghanailoveyou)
Three female cleaners walk back after a tough morning cleaning the beach. Though the gov’t pays $250 per cleaner per month, only $50 a month reaches them as salary, and even that sometimes delays for up to 5 months. Photo by Nana Kofi Acquah @everydayafrica @ghtog #Ghana #Corruption #CheapLabour
