DYNAMIC AFRICA

African-based news, lifestyle & popular culture platform that brings you stories and information concerning Africa and the African diaspora. Set up in 2010, Dynamic Africa is a rich content-driven creative space with a Pan-African outlook established as an expressive platform for African experiences, African culture and African stories.


Dynamic Africa is a diverse multimedia platform, which curates global ideas, memes, attitudes and other phenomena that shape popular culture, with both a local and global African perspective.




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Posts tagged "african photographers"

Yannis Davy Instagram Takeover For Dynamic Africa.

This past week, Gabonese photographer Yannis Davy has visually serenaded us with some beautiful scenic and serene images of a recent return trip he made to his home country.

We interviewed him before his take over and our favourite quote from him was:

Do you think of yourself as a ‘photographer’ or an ‘African photographer’, or perhaps a mixture of the two?

I really believe that I am African (and Gabonese) before I am anything else. I may stop being a photographer one day but I was African when I was born and I will be African when I will die. So yes, I guess I think of myself as an ‘African photographer’ more than anything else.

See more photos on our instagram account.

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Everyday People Stories.
Johannesburg, South Africa.

Images by Cedric Nzaka.

DYNAMIC AFRICANS: Yannis Davy.

Gabon may not be one of the first countries that pops into your head when you think of great African photographers, or even visual artists, but 19-year-old Gabonese photographer-in-the-making Yannis Guibinga is not one to let this void easily deter him.

Intrigued by his background, the photographs of Gabon he shares with us, and the sense of youthfulness he captures so well, we interviewed Yannis ahead of his instagram takeover for us this week. Here, the young college student shares his life experiences growing up in multiple countries across several continents, as well as his journey as a young Gabonese and African photographer.

How would you describe yourself in a few words?

My name is Yannis Davy Gérard Guibinga but I go by “Yannis Davy” on the internet mostly because it is easier to say and remember. I am 19 and currently live in the Toronto Area (Mississauga) while studying Digital Enterprise Management at the University of Toronto.

I was born in France but lived in Gabon, a small country in Central Africa, most of my life before travelling for university.

I also take photos sometimes.

You’re from Gabon where you traveled to recently and took these photos you’re sharing with us on our blog and on instagram. Can you tell us a little bit about your trip back there, as well as your experiences being a young in the African Diaspora, Canada specifically?

My mother and I moved back to Gabon when I was around 1 and to be honest I don’t really remember what life was like in France. My earliest childhood memory consists of me playing with my toys in my grandmother’s living room. I guess we can’t really generalize about what growing up in Africa or even in Gabon is like since we all have different lives and live in different situations, but as far as I can remember it was nice. I was always surrounded by family and friends so I guess I had a pretty decent childhood.

Though I only have one sibling, a little sister, I grew up around most of my cousins, some of them older; it was nice to grow up around people I could look up to.

Photography is definitely something you enjoy, it’s how you landed on our radar. How long have you been taking photographs? Tell us about your relationship with photography and how you got started pursuing this particular visual art form.

I think I started photography three years ago in high school. Before that, I was mostly into graphic design. As a graphic designer, I started out working with images of my friends and random celebrities to play around with but I quickly realized that using other people’s photographs was extremely limiting in some ways, so I started taking photographs of my own.

My foray into photography began with a small and inexpensive camera that I used to take random photos of my friends around school, which I would use later for graphic design purposes. I quickly realized that I was better at taking the photos than I was at editing them to create some sort of visual art piece so I eventually dropped graphic design and focused solely on photography. A friend eventually taught me how to use a DSLR and from then on, my confidence built up and I began organizing “photoshoots” with friends.

As much as I enjoyed this, I felt a need to expand my horizons and find other ways to express myself through photography. In order to diversify my work and try new things, I’m hoping that with time, my work will continue to develop as I’m still a young photographer. I can only be excited by what is next and thankful for my journey so far.  

What role, if any, does being Gabonese or being African play in your creative process? Are these parts of your identity something you’re aware of as a photographer?

I think being African plays a part in everything I do – especially since I am currently living in a country in which I am a minority. Whether I am aware of it or not, being African is a part of my identity. I think my creative process is greatly influenced by culture and experience; I don’t believe the way I think while taking photos and the way an occidental photographer thinks would ever be the same because we have different perspective on life. We come from different backgrounds, have seen different things and have a totally different culture. But Africa is a huge continent so I think that even among African artists the creative process might be different for the same reason.

To me, your culture shapes the way you see and experience things and ultimately, it shapes what you do and how you do things.

Do you think of yourself as a ‘photographer’ or an ‘African photographer’, or perhaps a mixture of the two?

I really believe that I am African (and Gabonese) before I am anything else. I may stop being a photographer one day but I was African when I was born and I will be African when I will die. So yes, I guess I think of myself as an ‘African photographer’ more than anything else.

Are there any particular photographers that influence or inspire you? 

Mert & Marcus, Alice Kong, Tamara Lichtenstein, Dennis Auburn, Jorden Keith, David Urbanke, Grant Legan and David Bellemere are fashion photographers whose work I really admire.

When it comes to African photographers I admire and am inspired by “Quazimotto On Wax”, Omar Victor Diop and of course the late and great Seydou Keita.

Also, shout out to Solange Knowles’ extremely inspiring instagram account, lol.

As a young African creative at a time when African photographers are celebrated more than ever, do you plan on pursuing photography as a career? Are your parents supportive of your foray into the arts, we all know that stereotype?

If I have the opportunity to pursue photography as a career I think I will but I don’t think this will be the only thing that I’ll end up doing. I truly love what I do but I also like what I’m studying right now and I’m thinking about possibly going to Law School after my bachelor’s degree. Honestly, I don’t think my parents would be too thrilled about me ending up as a photographer when they spent that much money in my education. But it’s always nice to know that I have something I still can go back to, just in case.

Thanks so much for a brilliant interview Yannis!

If you’d like to see more of his work or connect with him on social media, you can find him on his Tumblr photography page, instagram, twitter, and personal tumblr page.

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Shujaa Misuli by Osborne Macharia.

Shujaa Misuli, meaning ‘muscle warriors’, is a photo project by Kenyan photographer Osborne Macharia that celebrates the diversity, dynamism and accomplishments of Kenyan athletes and sports heroes.

Click for descriptions and names of athletes.

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Portraits captured on the streets of Johannesburg, South Africa, by Kenyan-born photographer Cedric Nzaka of “Everyday People Stories.

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All Africa, All the time.

DYNAMIC AFRICANS: Cedric Nzaka of “Everyday People Stories”.

From the street to the runway, and back to the streets again, Cedric Nzaka is a man on a mission. Armed with nothing but his great eye and passion for style, fashion and culture, and his camera, of course, the Kenyan-born South African-based creative has been documenting everything from the faces of Jozi’s style-conscious youth to the runways of fashion weeks in South Africa.

Intrigued by his documentation of the monthly Johannesburg brunch series THE WKND SOCIAL, I caught up with the jack-of-many-creative-trades to find out more about the man behind Everyday People Stories.

In a few words, tell us a little bit about who you are and what you do. 

I’m Cedric Nzaka, Kenyan-born and raised, but currently based in South Africa. I’d describe myself as a humanitarian, social documentary and landscape photographer, with a particular interest in NGO photography, and with a keen detailed eye for urban and street wear photography. Most of all, to paraphrase Friedrich Nietzsche: “I’m an artist and no artist tolerates reality”.

It’s always so interesting to meet other foreign Africans in South Africa, and Johannesburg has become a magnet for many Africans from all over the continent and all walks of life in recent years. What brought you to South Africa? What’s it like being Kenyan in SA?

The main reason I came to South Africa was to discover a nation’s struggle for freedom whilst following the footsteps of Nelson Mandela, Hector Pieterson and many other celebrated revolutionaries. The South African freedom struggle is a compelling story that tells of the sacrifices made by the people in overcoming the oppression of colonialism and apartheid. 

Living away from your country can be a really interesting and unforgettable experience, but at the same time it has very important effects on one’s life. The major effect, and also a very common one, is that once you begin a life away from home, you find yourself missing everything from your past. This is not to say that you are unhappy, but rather that you are aware of your newfound solitude.

Missing your family and the attention they all paid to you is a very common feeling. Little details like sitting on a Sunday morning watching TV alone instead of helping your dad organizing his things or having a nice chat with your mom makes you realize how valuable your family really is. For me, being a Kenyan in SA has made it possible for me to achieve a certain kind of newfound knowledge. You learn how to accept being in another type of society and a foreign culture, as you’re now living in a place with different customs and traditions from yours. You have to be able to develop yourself in unknown conditions. This means making new friends, learning other points of view, accepting different opinions and values, and seizing every opportunity you have to go to new places. 

How long have you been involved in photography? Did you start out wanting to photograph fashion portraits or was there something else you had in mind when you began using a camera?

 I started out with documentary photography because I considered documentaries to be a powerful means of conveying social messages to the world. Many people use television and film as a form of entertainment and if one can add factual information to the mix, the medium of documentary films can produce great changes by creating awareness and simultaneously educating the masses.

But somewhere along the line while I was working on a travel documentary, I felt the urge to do something different and out of my conform zone. Something that would help me grow as an artist and as an individual, which led to me choosing to get involved in urban and street style photography.

You’ve photographed a range of different fashion scenes, from the street to the runway. Is there one particular environment you prefer over others?

Street Photography is art photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. Truth be told, I do enjoy shooting on the runway as much as I enjoy working in the streets because it allows me to challenge myself as a photographer. But there is not that much that can be done when it comes to runway photography compared to street photography. To me, street photographs are mirror images of society, displaying “unmanipulated” scenes, with usually unaware/aware subjects. 

You’re someone who seems to be able to capture a certain kind of youth culture and soulful essence of what’s hip in Johannesburg. Where are your favourite places to photograph in Jozi? Can you tell us about some of your favourite hangout spots in Jo’burg?

One of my favourite places to photograph is Braamfontein Centre. It borders the city centre and is joined to Newtown by the Nelson Mandela Bridge. Braamfontein is fast becoming the hipster capital of Johannesburg as it’s home to a number of museums, theatres, restaurants and coffee shops, the Neighbourgoods Market - a Food and Design Market that’s open every Saturday, galleries and quirky design stores.

My second favourite place to photograph when in Jo’burg is definitely Maboneng which has been converted from industrial properties to a happening lifestyle playground. Street art is a big feature here, along with an eclectic selection shops. The pioneer development is Arts on Main and it’s also home to the Market on Main.

Third favourite place would be Newtown. Jo’burg’s original cultural precinct, Newtown is a vast heritage site with the impressively renovated Turbine Hall and immense Mary Fitzgerald square that hosts thousands of people for major cultural events.

My favourite hangout spots therefore would be anywhere around those three above-mentioned areas - from the famous Great Dane and Kitcheners in Braamfontein, all the way to Goethe on Main in Maboneng.

The Johannesburg street scene seems to be evolving from one great thing to the next. What are some of the trends you’ve noticed unfold in recent months?

Johannesburg is shedding its painful, crime-ridden past to emerge as Africa’s hippest hub for art, music and fashion. The fashion industry in Jo’burg is constantly growing - especially the design front of it all. The trends I’ve seen emerge a lot more are centered on the question of identity where most people communicate and express themselves through what they wear.

Besides photography, are there other things you’re involved in?

I’m a marketing consultant, graphic and fashion designer, fashion trend analyst, writer and illustrator. I’ve also had a passion for soccer from a very tender age and it’s something I still take part in when I’m not using my camera.

Lastly, what are five things you can’t leave the house without?

My iPhone, DSLR Camera + 50mm lens, clean pair of sneakers and most of all head gear. I’m always wearing some sort of head gear be it a beanie, snap back or 5 panel cap. I always have to have something on my head. 

Find him on Tumblr, Facebook, Twitter & Instagram.

In Photos: “Family Album” by Mamaki Rakotsoana.

This series of images by South African photographer Mamaki Rakotsoana is a project in which she took her deceased father’s photographs and reproduced them in a manner that investigates her relationship to him, as well as his relationship to the women in his life.

yagazieemezi:


Adolphus Opara:
 

Written by  OnoBello.com

Born 1981, Adolphus Opara started out working in a then major art gallery in Lagos where he gained ample experience. His passion for photography grew as a result of the constant contact he had with both local and international practitioners when he worked at the art gallery. For the first 3-4years of his career as a photographer, he travelled well around the country and continent documenting different festivals and events of cultural show.

He later delved into documentary photography where he has been nominated and selected for master classes and workshops around Africa. He has covered assignments for notable organizations and his works have been published in magazines, books and websites that include; The Financial Times (FT), Bloomberg, BBC, Associated Press (AP), The Independent, Private magazine, Time Out Nigeria, British Airways Highlife Magazine, World Press Photo Enter, Klang Sehen, New African Magazine and Nigerians Behind the lens.

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Dedicated to the Cultural Preservation of the African Aesthetic

In Photos: “Occupations” by Filipe Branquinho.

As the title suggests, in his on-going series taken around his hometown of Maputo, Mozambique, the Lusophone country’s capital city, visual artist Filipe Branquinho, a formally trained architect, documents the livelihoods of his fellow citizens at their place of work. Branquinho began the project in 2011 with the objective to “ photograph the urban working people in their environments and to move away from the cliché of rural Africa”, and discovering how people in this city that had seen so much violence and turmoil in the years past occupied their time and related to the environment around them.

Although having to hone his own skills and develop both a technical and personal style and approach to the medium, Branquinho isn’t new to the world of photography. His father was a journalist and friend to other prominent Mozambican photographers of the mid-late 20th century such as Ricardo Rangel, Kok Nam and José Cabral.

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All Africa, All the time.

In Photos: “A Gorean Summer” by Fabrice Monteiro.

The usual photographs I’ve become accustomed to seeing of Goree Island are usually related to the island’s historic past as a port and base for European traders. These black-and-white images by Belgian-Beninese photographer Fabrice Monteiro stand in stark contrast to the colourful yet still and scenic landscapes that often make Goree island seem empty and uninhabited. A Gorean Summer is based on both the beaches of Goree, Dakar and other surrounding beaches near Senegal’s capital.

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All Africa, All the time.

In Photos: “Signares” by Fabrice Monteiro.

Exploring history and fashion along the west coast of Africa, for his series ‘Signares' Belgian-Beninese photographer Fabrice Monteiro recalls a time in history where distinct cultures collided.

As European traders and explorers began to ascend on Africa’s west coast around the 15th and 16th century, as these men where forbidden from bringing their families and wives from their home countries, they began to intermingle and intermarry with African women in the Senegambia region. As a result of these relations, many of these women began to orchestrate business dealings to their benefits “using these partnerships to bolster their socioeconomic standing and personal trading enterprises”. One signare in the 1770s from St Louis, Senegal, is noted to have been a property owner and dealer as she bought and sold property in Saint-Domingue, while “five other signares in Gorée signed a petition against a poorly run French company that had been awarded an exclusive contract with the island”. 

Although these relations were not at first recognized by colonial and European authorities, it later became acceptable for Europeans living in Senegal to marry and have their descendants profit from these unions through heritage rights. Most of these women were considered to be of a high class and often married “middle-class executives or French and English aristocrats”. Naturally, a new sense of fashion was born as the women combined their own traditional styles with European attire at the time.

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All Africa, All the time.

DYNAMIC AFRICANS: Senegal with Amy Sall.

Amy Sall is not a hired travel photographer, nor is she a photojournalist on assignment. Yet, her images of her recent trip to Senegal are far more moving, far more real, far richer and possess more authenticity than any embedded journalist could ever attempt to capture. The difference between Amy Sall and other photo amateurs or professionals? Her attachment to Senegal is personal. She’s a first-generation American, born and bred, but culturally, Senegal has never been far away. Additionally, she’s unburdened with the need or pressure to tell a specific kind of story. The narrative was a story to be told along the way, along her path of self-discovery.

For these reasons, and more, I fell in love with her posts on instagram as she visually documented her emotional visit to a place that isn’t quite home, but isn’t a foreign country as well. Through the story she creates with her images, Amy’s photo-documentation illustrates the need for Africans to tell their own stories through any and whatever medium is at their disposal.

Here’s my interview with Amy Sall as we discussed the emotional journey of her multicultural upbringing:

In about five sentences or less, briefly tell us a little about yourself. Who is Amy Sall? How would you introduce and define yourself to those who don’t know you?

I am a 23-year old, first generation Senegalese-American, born and bred in New York City, trying to navigate my life with my best foot forward, while staying true to my values. I think in all aspects of my life, there’s the inherent nexus of integrity, selflessness, and grit. What I do and who I am are intrinsically linked. Currently, I’m a Masters Candidate in Human Rights at Columbia University, focusing on children’s rights and youth issues in Sub-Saharan Africa. In the past, I’ve worked within a few sectors of fashion where I’ve had experience at Vogue, written for Lurve Magazine, and worked for Rick Owens to name a few.

You’re first generation Senegalese-American, born and raised in the US. What was your experience growing up being a part of two very distinct cultures? 

It was interesting, but not easy, growing up between two cultures. It’s not the easiest experience to sift through because it’s quite layered and muddled with all sorts of intricacies. I can say that there were times where my “Africaness” and my “Americaness” had points of contention. I was born only a year after my parents came to the states, so I grew up in a very culturally Senegalese home. Everything in our home was inherently Senegalese, from the food, to the music, to how daily life was constructed.

However, once I stepped outside my home, I was confronted, daily, with the fact that even though I am, in the literal sense of the word, African-American, I did not fit in with the African-American kids. They saw me as other. They saw me as African. They saw me as a dark African. So, it was difficult to reconcile that tension between two cultures as a child. My being rejected by my classmates (and when you are a child, the approval of your peers means everything) led to the resentment and disavowal of my culture and dark skin.

My childhood in that regard was tricky, and it unfortunately caused some damage during my transition into adolescence. There eventually came a point when I just didn’t care about what people thought, and my parents had a heavy had in getting me to that point. Straddling the line between two cultures became easier, and eventually something I thought less about. The biggest relief was ridding the shame I felt toward my “Africanness” as a child. Being African is absolutely the most beautiful thing to me.

On your blog, you mention that you hadn’t been back to Senegal in ten years. What prompted your visit back home? What was the experience like?

What prompted me to go to Senegal was simply realizing that I no longer had the excuse not to go. The last time I was there, I was 13 or 14. The fact that I was approaching the ten-year mark of not being in Senegal was incredibly important and symbolic to me. I decided that I wouldn’t let another year pass without going to Senegal. The possibility of my grandmother’s dying without a chance to see them again started to weigh heavily on me.

Both my grandfathers died when I was younger. One of them I’ve only seen once, the other I’ve seen twice. I regret that I wasn’t able to get to know my grandfathers. The reasons for the 10- year gap vary, but I will attribute them to the unfortunate ills of migration. It wasn’t always easy for my parents to take my siblings and I to Senegal often. Those opportunities did not always present themselves. It’s a sad realization to know that you can’t go home and see your family as often as you would like to, for reasons beyond your control.

So I decided, now that I’m older, nothing was to stop me from going back home and seeing my family. I wanted to get closer to my family, especially with my grandmothers, and develop a real relationship. I wanted to deepen my sense of self and rediscover my roots. It was also important for me to make this trip so that I could see the socio-economic issues of the country with my own eyes, especially as they pertain to children and youth. Much of my graduate research is centered particularly on Senegal, so being on the ground was necessary for the work I’m doing academically, and aim to do professionally.

During your trip back to Senegal you visually documented your stay there by taking and sharing photos on instagram. Was this something you decided before travelling, or was it done on more of a whim? 

I definitely knew I wanted many photos to have as keepsakes, but there were many times where I didn’t bring a camera with me because I just wanted to truly feel Senegal and be immersed in it. When I did have my camera, all I was trying to do was simply capture the country in the truest way possible. I did not want to glamorize or romanticize Senegal. It is an incredibly beautiful, rich and vibrant country, with beautiful people, however there are very real problems that I felt were not to be excluded.  I wanted to share a holistic view of Senegal, from the colors of Gorée to the talibés begging in the streets.

You’ve been blogging for quite some time now so you’re no stranger to sharing bits and pieces of your life online, something I enjoy doing myself. How important was it for you to share this part of your personal life online? How has the response been?

I like the idea that with the Internet, I can carve a space for myself, curate it however I please, engage in a dialogue, and maybe even teach someone something new. I had no expectations when I posted my photos on social media. I was surprised that they garnered the response that they did. People really took a liking to them. I know absolutely nothing about photography. A country as beautiful as Senegal makes it quite easy to photograph. It made me happy that people were appreciating and enjoying my journey, and were able to take part in it. They were discovering Senegal as I was rediscovering it, so it became this shared experience. 

This trip was personal, but it was one that so many can relate to. I am not the only person that has been away from their home country for so long. I am not the only person that hasn’t seen their aunts and uncles in years, or hasn’t hugged their grandmothers in a long time. As personal as this experience was, there were those who were able to connect to it on varying levels. That is what probably surprised me the most, because I didn’t think sharing my trip through these photos could have that effect. I realize that sharing them was much bigger than me, and it was much bigger than a series of Instagram posts. I am really humbled by that. I don’t care about having a large number of followers because I don’t seek validation through that kind of stuff, but I value when someone can take something positive away from what I have shared, whether on the Internet or in real life.

Would you ever consider compiling and publishing your photographs and experience into a photo-book of some sort?

Working on it!

That’s faboulous! Can’t wait ‘til it’s published. Lastly, what are three words you’d use to describe Senegal?

Vibrant, beautiful, home.

Thank you so much, Amy! 

All images via Amy Sall’s instagram.
Amy Sall’s site.

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All Africa, All the time.

Libyan photographer Jehad Nga takes us inside Malick Sidibe’s home and studio.

We’re all familiar with the iconic work of Malick Sidibe, one of the world’s most noted vintage studio portrait photographers. His work has been exhibited all over the world, creating a timelessness element to the Mali of days gone by. But what has become of the photographer, his studio and the magic, in the form inspiration, we see when we look at his images? 

Above are possibly the most recent photographs of an aging Sidibe (the very last photograph) in his one-room home, and his studio in Bamako, taken by Libyan photographer Jehad Nga almost a year ago in March 2013. I’m unsure if he’s been interviewed or photographed since.

Photo captions:

  1. A curtain used as a backdrop hangs in Malick Sidibe’s Bamako studio. The curtain has been in use since the opening of the studio in 1960 and never has been replaced. Many of Sidibe’s most famous photographs feature the backdrop.

  2. A view from inside Malick Sidibe’s now cluttered and dusty Bamako studio. Virtually nothing has been thrown away over the years from the studio including broken cameras and studio equipment.

  3. Malick Sidibe’s photo enlarger now out of use sits in a corner of the photographer’s Bamako home.

  4. Inside Malick Sidibe’s Bamako studio, a strobe lighting system has been updated to accomidate his son Kareem’s job as an I.D. photographer.

  5. On the patio of Malick Sidibe’s Bamako studio, photographs taken by Sidibe as well as ones featuring him over the years decorate a wooden wall.

  6. Inside Malick Sidibe’s home, a huge archive of negatives sits piled up and unprotected. Sidibe and his sons are trying to find people to help them begin to digitally archive his work before much of it is ruined by moisture and dust.

  7. Samba Sidibe (Malick’s younger brother) sits on the floor surrounded by old studio equipment and film negatives in Malick’s bedroom.

  8. Inside Malick Sidibe’s Bamako studio, a collection of Sidibe’s old cameras takes up an entire wall.

  9. Malick Sidibe sits in his bed in his Bamako home. With temperatures rising to 110 degrees Fahrenheit, the heat take its toll on the aging Sidibe. His younger brother Samba and his sons help keep him cool using a hand fan.

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All Africa, All the time.

In photos: “Turkana” by Jehad Nga.

A photographer of Libyan descent born in the United States and raised between Tripoli, Libya and London, England, Jehad Nga's lens has explored many stories and identities all over the African continent. From photographing a beauty contest in Botswana for HIV affected to women, night commuters in Ugandan, and the Liberian civil war, to illegal migration in to South Africa and documenting his own country, Libya, Nga's body of work is unique in that it contains projects that cover all regions of the African continent.

In this 2010 series titled ‘Turkana’, Nga’s photographs highlight the people of the Turkana region of Kenya - perhaps the area worst hit by drought in the country. Despite oil and water reserves in Turkana, the people reap few of the benefits as the government and large corporations take control of these resources.

According to Nga, the Turkana are ‘dwindling in numbers’ due to drought and subsequent neglect from them Kenyan government. Devastatingly, as a result of food and water shortages and with little to no aid reaching them, for some of the people photographed by Nga, these are the very last images of them. Shortly after photographing them, several of the individuals photographed passed away as a result of starvation caused by drought.

With the darkness filling up the negative space in the photographs, the significance of this sombre effect is to show the disappearing of a people. Nga’s aim, through these photographs, is to highlight the neglected plight of the people of the Turkana region and create a consciousness and awareness concerning their situation. 

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All Africa, All the time.