Africa's Visual Vernacular by Uche Okpa-Iroha

ZEKE
THE MAGAZINE OF GLOBAL DOCUMENTARY
SPRING 2020 VOL.6/NO.1 $12 US
Africa’s Visual Vernacular
by Uche Okpa-Iroha
From the Africa issue of ZEKE magazine
Published by Social Documentary Network

Africa’s Visual Vernacular
.......................................................
By Uche Okpa-Iroha
The practice of photography in
Africa is as old as its introduction
to the world by Francois
Arago in 1839 in France. Today
it has become the ‘go-to’ technology
through which the world
seeks to narrate and explain
events irrespective of the context.
Photography, then, in its infancy was
regarded with a fair dose of suspicion
with skeptics questioning its role and
motives.
As photography was being unveiled
in France, purveyors and colonists were
already on their way to the Continent
in search of ‘treasure.’ Inevitably the
camera became part of the lingua franca
and Africa, a stage where every other
form of expression that was antithetical
to its existence (be it cultural, economic,
political or social) was experimented.
The Continent had little or no say in
molding her image or visual narrative
during the colonial era. This narrative
has persisted for over 150 years and
has become embedded in the modern
psyche of western countries. It supports
the portrayal of the Continent as a land
in perpetual struggle. However this narrative
has in recent years been questioned
by African artists who in the mid-20 th
century emerged as proponents of subversion
to challenge the age-old western
accounts and its consequential parochial
representations of the Continent.
Modern and contemporary history
has often seen western writers present
Africa in a poor light and the context
skewed so as to titillate or entrench
already held misconceptions of the
Continent by the home audience.
Often topics relating to the Continent’s
political, social or cultural essence, are
highlighted with the usual stereotypical
reference to poverty, diseases or political
2 / ZEKE SPRING 2020
instability, thereby relegating innovative
agendas and policies by African states
from the mainstream of international
discourse. For decades, this image of
Africa has been held as the official narrative
that is accepted, especially in the
west. Despite the gains and successes
of the 54 countries that constitute this
richly endowed continent, a Euro-centric
vernacular has continuously coalesced
into clichés, representations and myths
often known as the ‘master’ narrative.
This essay is not aimed at highlighting
western parochialism towards Africa but
hopes to analyze the diverse narratives
of the Continent in relation to photography
and the role of the medium in
present day Africa.
Ideological Influence of
Colonialism
From the onset, African practitioners
have been keen observers of their
environment despite the unquestionable
influence of Europeans who
introduced photography at the same
time as colonialism. In as much as it
was a given that the colonists —comprising
of missionaries, merchants and
adventurers—profited from the creation
of these images, little or no questions
were asked if they reflected the reality
on the ground. From early to mid-19th
century, African photographers began to
collaborate with their European counterparts
in creating images that reflected
their vernacular. No doubt, most of them
were apprentices or worked directly to
the dictates of the colonial administrators
and missionaries. And despite the
ideological influence of colonialism and
its excessive control, the early African
photographers began to gradually
redefine the Continent’s new image
from a domestic perspective. I am of
the opinion that colonial tutelage and
its effect on early African practitioners
played a significant role in shaping the
visual myths that are perceptible today.
The focus during the 19th century fell
within the boundaries of anthropology
and ethnography — the earliest noticeable
language of photography in Africa
at the time.
In West Africa in the mid to the late
19th century, a group of young and
enterprising photographers led the
movement and produced some relevant
and outstanding works. Notable photographers
such as the African American
Augustus Washington, who was disenchanted
by black subjugation in America
in the 1850s, moved to Liberia and later
established studios in Sierra Leone, the
Gambia, and Senegal. 1 There was also
the very itinerant Francis Wilberforce
Joaque, who was educated in the
Grammar School in Freetown run by the
Church Missionary Society (CMS). 2 In the
1860s, he moved to Fernando Po (present
day Equatorial Guinea) where he
pioneered and practiced photography. 3
As the 19 th century drew to a close,
photography had already become an
important visual form of expression in
Africa. More entrepreneurs came into
the field in the central and the southern
parts of the Continent. New visual
dialects and provincialism began to
emanate from the defined borders of
anthropology and ethnography away
from the influence of the European perspective
which was still relevant in the
context of African photography at that
time. There were conscientious photographers
who also photographed events
independently in their regions. Today,
the works of Jonathan Adagogo Green

...
and Hezekiah Andrew Shanu remain
vital in the study of colonial imperialism
in the Niger Delta and in Boma in the
Congo Free State. It was Green who in
1897 photographed the deposed Oba
Ovonramwen of Benin and his family on
board the ship SS Ivy on his way to exile
in Calabar. Green, who (it is believed)
had been trained in Europe, photographed
the evolving state of colonialism
and societal change in southeastern
Nigeria. His photographs depict native
Bonny aristocracy and their families in
vernacular settings. Shanu had a studio
opened in Boma from where he had
access to the atrocious events in the
Congo Free State. He is credited with
playing an important role in providing
photographic evidence of the atrocities
suffered under King Leopold’s regime in
Congo. 4
A New Generation of
Photographers
The viewpoint on the subcontinent
introduced through colonist ideologies
began to manifest the bi-polar nature of
photography — the real and the myth in
the works of individuals like Jules Leger,
William Ring, Carel Sparemann, William
Walter and John Paul between 1840 and
1855. Their approach was similar to their
contemporaries in West and East Africa.
The photographs covered local sceneries,
colonial officers, and portraits of notables
within the administrative, social and
cultural classes. To the east, the Swahili
shores adjacent to the Indian Ocean
attracted a lot of interest from purveyors
and photographers alike in the early 20 th
century. The topographical richness of the
region and its cultural diversity with people
from Asia, Middle East, Europe and
Africa gave the major cities in Tanzania,
Kenya and Uganda colorful, enchanting
and picturesque credentials. The Omani
empire was at its twilight during this
period (the early 20 th century) but the
appeal of royalty brought its measure of
exoticism with opulent palaces, exquisite
fashion and lush landscapes. This element
was the focus for early 20 th century photographers
like J.B Coutinho, C. Vincenti,
Frank & Frances Carpenter and Eric
Photograph by Zanele Muholi. Somnyama in Lafayette, New York, 2016. © Zanele
Muholi. Courtesy of Stevenson, Cape Town/Johannesburg and Yancey Richardson, NY.
The Prince Claus award recipient and one
of South Africa’s leading photographers,
Zanele Muholi, is as assertive as she is
intriguing. She has exhibited her work in
prominent galleries, museums and festivals
all over the world.
Her portfolio focuses intensely on
marginalized communities (such as the LGBT)
in South Africa and in her travels who often
have limited involvement in mainstream
political, economic, cultural and social
activities due to their conditions, lifestyles or
exclusion.
A common theme in her work is her direct
involvement in interrogating her subject
matter by means of identification through
association, dress codes, and viewpoints.
Matson. The cities of Mombassa, Dar es
Salaam, Nairobi, and Blantyre provided
residence for a group of photographers
who were particular about photographing
commercial activities, Arab architecture,
Muholi’s thought-provoking work Somnyama
Ngonyama, Hail the Dark Lioness takes a
look at the politics of identity and representation
through the gaze of anthropology and
ethnography. Her narrative and classification
of society become apparent in her use
of the terms ‘they’, ‘them’, and ‘other’. The
potency and visual impact of the work is
proved by the deliberate and effective use of
props. And her excessively darkened body
is a platform for resistance and campaign
against prejudice and parochial perceptions.
Muholi’s ebony skin projects a message
of defiance and assertiveness drawing the
viewer into her realm to understand the
message and to decode the meaning for
themselves.
tribal people (considered as exotic) and
the day to day life of the upper class.
The emergence of this new generation
of photographers in the 21 st century can
be attributed to their orientation to local

Photograph by George Osodi. A woman drying tapioca a casava cake near a gas flare while her child tries to protect a little baby on her back from heat from the flare in
Utorogun Niger Delta, Nigeria, November 2006.
and international festivals, biennials and
exchange programs as well as informal
platforms that offer photography schooling.
There are few other instances that
have instigated the awakening of interest
in the field of photography, contributing
to its development and evolution into
diverse vernaculars of visual expression
in contemporary time. I will examine a
few milestones and practitioners who
heralded the growth of the medium in
Africa.
The Language of Resistance
Before the apartheid regime came to
an end in South Africa in 1994, an
important movement in photography
had begun in 1989 under the auspices
of renowned photographer David
Goldblatt. This platform took into cognizance
the exclusion and marginalization
of black communities as the country
looked to the future with hope for a new
nation. The Market Photo Workshop is
an organization that offers a dynamic
visual pedagogy for the training of
photographers with emphasis on the
pre and post-apartheid experiences of a
country and its people.
A close examination of the portfolios
of relevant photographers from
South Africa reveals a partisanship and
consistency in language. The emotional,
psychological, sociological and cultural
sensibilities of the South African
environment are evidently imprinted in
the notable oeuvres from Ernest Cole,
Peter Magubane, Santu Mofokeng,
Cedric Nunn to Zanele Muholi, Andrew
Tshanbangu, Jo Ractliffe, Jodi Bieber,
Sabelo Mlangeni, among others. Though
the individuality of each photographer
distinguishes their thoughts and production
processes, they all have one common
denominator engrained in them: the
language of resistance and protest but in
subtle annunciations. Unlike the pioneers
of photography in Africa, this generation
owned their voices and they remained
unrestrained. The influence is obvious
with the works of Musa Nxumalo and
Lebohang Kgange whose works delve
into personal lives both of themselves
and their families thus showcasing
bonds of association, love, friendship
and community with observed social
protocols that are apparent in South
Africa and especially in Johannesburg.
The Bamako Encounters established
in 1994 is Africa’s preeminent biennial
for photography and has been a major
catalyst for the promotion of emerging
photographers since inception. Today,
with its reach, message and context,
we have seen the likes of Pieter Hugo
(South Africa), Baudouin Mouanda (DR
Congo), Zanele Muholi (South Africa),
Rana El Nemr (Egypt), Mamadou Konate
(Mali),Omar Victor Diop (Senegal),
Fatoumata Diabate (Mali), Emeka
Okereke (Nigeria), Nyani Quarmyne
(Ghana), Malala Andrialavidrazana
(Madagascar), Uchechukwu James Iroha
(Nigeria), Zohra Bensemra (Algeria) and
others make great strides and take their
rightful place on the international photography
circuit. They are the reinvigorated
voice of Africa with fresh perspective on
global events. And the relevance of the
biennials like the festivals in Bamako,
4 / ZEKE SPRING 2020

Photograph by Andrew Esiebo
Lagos, Addis Ababa, is the projection of
Africa’s cultural heritage as a diverse and
inexhaustible resource. This diversity can
become a key instrument in the development
of Africa’s visual vernacular in all
manner of artistic and visual representations
(in films, videos, photography and
new media) supported with new philosophies,
ideologies and knowledge.
Nigeria’s Visual Language
There are elements that have become
distinctive to different regions of Africa
and have seamlessly been diffused into
artistic productions. A typical marker of
this is Nigeria, a country of about 200
million people with almost 500 tribal
languages. Nigeria is considered to be
a major player in the global art scene
and especially in photography. Lagos is
the creative powerhouse in Nigeria — a
mega city of about 25 million people
and as diverse and complex as the
country itself.
Language and culture is often used
to define a people and Nigeria’s visual
language can be explained as an
aggregation of its ethnic and cultural
stakeholders, their relationships and
interdependence and a shared history
of photography since the arrival of the
first Europeans. As the medium evolved
over time, Nigeria’s provincialism has
become more pronounced. In Rotimi
Fani-Kayode’s work “body” we see the
collision of subjectivity and materiality.
The exuberance of sensuality and
spirituality become the focal point in his
discourse on religion and social codes.
He explores identity (the freedom of the
body) and politics and the relationship
between the former and photography.
The works of younger photographers
like George Osodi, Andrew Esiebo,
Abraham Oghobase, Adeola Olagunju
and Etinosa Yvonne Osayimwen share
similar traits and ratify the diverse dialects
that define the practice in Nigeria.
George Osodi brings a diverse and
complex insight to Nigerian photography
through his journalistic inclinations.
Through his work “eyes,” the world
became aware of the insurgent/militant
activities in the Niger Delta of Nigeria
(2003–2013). His politically charged
photographs raised questions of neglect,
corruption and tribe-ethnic leanings in
the bureaucratic corridors of power in
Nigeria. In other projects, his versatility is
buttressed and he takes different tangents
to engage in other realms like culture with
his work “Nigerian Monarchs” (2011–
present), a study on the custodians of
royal traditional stools and their roles in
Nigerian society and politics. He investigates
the bustling metropolis of Lagos
with an in-depth study of its inhabitants,
streets, traffic and nightlife and tries to
make sense of the abundant contradictions
and peculiarities. The revelations
of the idiosyncratic nature of Lagos are
evident in his “Lagos Uncelebrated”
project (2007–2013). Osodi’s oeuvres
represent visual provincialisms which are
polyphonic and pluralistic.
Corroborating Osodi’s eclectic
approach is the energetic and prolific
Nigerian photographer Andrew Esiebo.
Both have similar traits with works that
are visually partisan. Ideologically, they
ZEKE SPRING 2020/ 5

share the same views and tend to reimage
and re-imagine their spaces along
similar itinerant perspectives. Esiebo’s
works are conduits for the expression of
his diverse visions, ideas and thoughts.
He often approaches his subject from a
journalistic standpoint. Esiebo covers a
wide range of topical issues like spirituality
or religion in “God is Alive” (2006
– present), gender and homosexuality
“Who We Are” (2007– 2010), sports/
football “Love It” (2006) and lifestyle
“Pride” (2012). Esiebo and Osodi
share similarities and influences which
suggest a possible cross-fertilization of
ideas and philosophies in their formative
years. Esiebo’s unique photographs are
a clear deviation of the clichéd anecdotes
and narratives of western gaze on
Africa. Clearly, his photographs are very
independent of any outside influences or
control as he is conscientious in reporting
events around him.
Another contemporary Nigerian photographer
is Abraham Oghobase (winner
of the Prix Okwui Enwezor at the 12 th
Bamako Encounter in 2019). Oghobase
is known for his reactive photography.
He explores the relationship between his
emotions, that of his subjects, and the
spaces of his encounters. His work delves
into the territories of conceptual photography
with primary focus on experimentation,
research, and materiality and lived
experiences. He sees his body as a blank
canvas upon which his narratives can
be superimposed. An avid self-portraitist,
Oghobase has a well-defined position
and voice in Nigerian and African
photography. His style of work and rich
portfolio has influenced young female
photographers like Adeola Olagunju and
Etinosa Yvonne Osayimwen.
Adeola Olagunju, a recent winner of
the Grand Prix Seydou Keita award at
the 12th Bamako Encounters (2019) and
an alumnae of the Nlele Institute Lagos,
also uses her body like Oghobase as the
subject. Olagunju focuses on memory,
vulnerability, experiences and emotions.
In her recent work “Home Is” (2019),
she is seen together with a model in a
staged project with a vibrant background
accentuated with textures and layers. The
colors, lines and textures are metaphors
which reflect the emotional state of her
mind as she ventures to conceptualize the
process of homemaking and the intricacies
that are evident in relationships
between spouses. The work is subtle and
addresses the performativity in photography
also seen in Abraham Oghobase’s
work. Her award winning projects in
Bamako “Transmutations” (2019) and
“Pilgrimage” (2018) use both photography
and video. A new dimension and
approach exists now among contemporary
photographers of African descent
who challenge limitations and stereotypes
thereby finding avenues through diverse
languages or media to engage with their
audience. Olagunju’s work in Bamako
(2019) had all the attributes of double
exposure photography where layers of
screens used in the presentation form or
serve as recurrent metaphors.
East Africa’s Optimism
Similarly in East Africa, we see the
excitement and vibrancy of colors in the
portraits of renowned Ethiopian photographer
Aida Muluneh. Muluneh is the
founder of Defta for Africa (DFA) and the
Addis Foto Fest. Muluneh’s work gives
a fairytale insight into the beauty and
lifestyle of African women through her
rich color portraitures. She is constantly
involved in introspection, questioning her
work and herself and trying to find new
perspectives to explain her philosophy.
In her recent project, “The Memory of
Hope” (2017), Muluneh integrates the
optimism which she believes shaped
her upbringing, youth and indeed her
life. She is also particular about western
stereotypes within the confines of gender
representation and identity. Muluneh
uses or places her models in the conventional
portrait layout, and mostly
explores the subject like a performance.
Photograph by Abraham Oghobase
6 / ZEKE SPRING 2020

Notes:
1
Jurg Schneider, Portrait Photography: Visual
Currency in the Atlantic Visual scape. Portraiture
& Photography in Africa, Pg 40, 2013
2
Jurg Schneider, Portrait Photography: Visual
Currency in the Atlantic Visual scape. Portraiture
& Photography in Africa, Pg 46, 2013
3
Jurg Schneider, Portrait Photography: Visual
Currency in the Atlantic Visual scape. Portraiture
& Photography in Africa, Pg 40, 2013
4
Erin Haney, “Fools Eye: Innocent Photographs”,
Omenka magazine, Pg 81, Volume 1, Issue 2,
2013
Photograph by Adeola Olagunju
Repositioning the Continent
In recent years, photography in Africa
has become a huge enterprise and
movement. Photographers in Africa are
more or less concerned with mounting
new vistas in an effort to reposition their
continent as the next frontier of possibilities,
hence creating new knowledge,
breaking down monopolies and opining
directly how Africa is perceived.
I will sum up this essay with the work
of Senegalese photographer Omar
Victor Diop as corollary to the vibrant
work of Aida Muluneh. Diop’s work is
allegorical, captivating and emotional
with distinctive historical narrative. His
projects including “Liberty”, “Diaspora”,
“The Studio of Vanities”, “(Re-) Mixing
Hollywood”, and others all resonate
with a strong African theme. The likes
of JA Green, Malick Sidibe, Seydou
Keita, JD Okhai’ Ojeikere, Ricardo
Rangel, David Goldblatt and others
have all influenced his work in one way
or another. Like Diop, other exciting
photographers are coming to the fore
with notable impact on the African
photography scene. The likes of Mario
Macilau (Mozambique), Mauro Pinto
(Mozambique), Simon Gush (South
Africa), George Sanga (DR Congo),
Em’kal Eyongakpa (Cameroon), Malala
Andrialavidrazana (Madagascar),
Uchechukwu James-Iroha (Nigeria),
Oumou Diarra (Mali), Nyani Quarmyne
(Ghana), Nyaba Leon Ouedrago (Cote
d’ Ivoire) and others will continue
(through their works) to redefine Africa
with regard to contextualization and
perception.
As we gaze into the future, these
stakeholders will continue to reinvent and
reinvigorate the Continent through the
rich diversity of their visual dialects, thus
creating layers of African narratives that
are firmly embedded in proud partisanships
and provincialisms.
Photograph by Aida Muluneh
ZEKE SPRING 2020/ 7

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