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 All posts originally made by me are credited.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
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(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)
Cross River Ibo. Nkporo tribe. ‘Isiji masquerade. photo taken by Dr.G.I.Jones, 1931
Vintage Nigerian photos
Chimamanda Adichie pens an elegy to Chinua Achebe in Igbo
Ife mee,
Nnukwu ife mee,
Chinua Achebe anabago,
Onye edemede nke di,
Egwu, onye nnukwu uche, onye obi oma,
Keduzi onye anyi ga-eji eme onu?
Keduzi onye anyi ga-eji jee mba?
Keduzi onye ga-akwado anyi?
Ebenebe egbu o!
Anya mmili julu m anya,
Chinua Achebe, naba no ndokwa,
O ga-adili gi mma,
Naba na ndokwa.English translation by Adaure Achumba
Something has happened
Something big/grave has happened,
Chinua Achebe is gone.
A great writer, a man of great wisdom, a man with a good heart.
Who shall we brag about?
Who are we going to tell the world about/take to other lands?
Who will guide us?
A storm has passed/a catastrophe has happened.
Tears fill my eyes.
Chinua Achebe rest in peace,
It shall be well with you.
Rest in peace.This piece was published on Adaura Achumba’s website.
“The white man is very clever. He came quietly and peaceably with his religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart.”
- Things Fall Apart by Chinua Achebe
“If you don’t like someone’s story, write your own.”
“Nobody can teach me who I am. You can describe parts of me, but who I am - and what I need - is something I have to find out myself.”
“We cannot trample upon the humanity of others without devaluing our own.The Igbo, always practical, put it concretely in their proverb Onye ji onye n’ani ji onwe ya: “He who will hold another down in the mud must stay in the mud to keep him down.”
“When a tradition gathers enough strength to go on for centuries, you don’t just turn it off one day.”
“When the British came to Igbo land, for instance, at the beginning of the 20th century, and defeated the men in pitched battles in different places, and set up their administrations, the men surrendered. And it was the women who led the first revolt.”
“When suffering knocks at your door and you say there is no seat for him, he tells you not to worry because he has brought his own stool.”
“While we do our good works let us not forget that the real solution lies in a world in which charity will have become unnecessary.”
“It is the storyteller who makes us what we are, who creates history. The storyteller creates the memory that the survivors must have - otherwise their surviving would have no meaning.”
“I would be quite satisfied if my novels (especially the ones I set in the past) did no more than teach my readers that their past - with all its imperfections - was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them”
“That we are surrounded by deep mysteries is known to all but the incurably ignorant.”
Canoe of King Jaja of Opobo [Nigeria]. Unknown photographer. 1882.
APPLIQUE COSTUME AND CLOTH MASK, ATIERE OGWU. COSTUME IS IMPORTED FABRICS OVER NATIVE WEAVES, 160cm. MASK IS CLOTH, YARN, WOOD, 56cm. COLLECTED IN UGWOAGBADA ABBI IN 1966 BY H. M. COLE.Igbo Arts at UCLA, Herbert M. Cole. African Arts, Vol. 18, No. 1 (Nov., 1984), pp. 64-69.
Poster against the General Odumegwu Ojukwu, leader of the Igbos.
Lagos, Nigeria.
1967.
It has often been said that my generation was a very lucky one. And I agree. My luck was actually quite extraordinary. And it began quite early.
The pace of change in Nigeria from the 1940s was incredible. I am not just talking about the rate of development, with villages transforming into towns, or the coming of modern comforts, such as electricity or running water or modes of transportation, but more of a sense that we were standing figuratively and literally at the dawn of a new era.
My generation was summoned, as it were, to bear witness to two remarkable transitions—the first the aforementioned impressive economic, social, and political transformation of Nigeria into a midrange country, at least by third world standards. But, more profoundly, barely two decades later we were thrust into the throes of perhaps Nigeria’s greatest twentieth-century moment—our elevation from a colonized country to an independent nation.
An excerpt from Nigerian award-winning author Chinua Achebe’s long-awaited soon to be released memoir, “There Was A Country: A Personal History of Biafra”.
Mma masquerade performed by residents of Amuvi village at the Amaikpe communal village group square on Eke Ekpe day of Ikeji, September 24, 1988.
This mask represents a bush cow (Atu Ejeogwu).
Mma is typical of the north eastern part of Igboland and the neighboring Idoma people.
The Arochukwu village of Amuvi has settlements in that area. Amuvi people adopted Mma masquerade.
As many Aro settlers in that area were displaced during the Nigerian Civil War, they brought Mma with them when they returned to Arochukwu.
Photo: Eli Bentor.
— Eli Bentor via ukpuru
PAINTED, [IGBO] CARVED DOOR. NIMO.
— Fred T. Smith
(via ukpuru)
Picture of the Igbo maiden mask called AGBHOGHO MMANWU
Made in Niger Delta, circa 1880
The British Museum
(via 37thstate)
Hair - dressing as a work of art. (1921)
“Charcoal dust and palm oil are freely used, but should necessity arise, the structure must be cut away entirely as it cannot be ‘undone’”.
Igbo woman, Nigeria
(via thefemaletyrant)
Complex sculpture by Cecca W on Flickr.
Via Flickr:
Wood, iron and paint
Igbo people, Nigeria, 20th century
The sculpture is made of many separate elements nailed to a central core and incorporates images of power, such as horsemen, imported goods, military insignia, rifles and wild beasts. Such works act as the fixed rallying points of different social groups at public displays of dancing.