From the African Streets Volume 1
From the African Streets Volume 1: See My city is a photography focused publication by Unpublished Africa. While each city has its own ebb and flow, one thing remains consistent from city to city and country to country – we need more stories documented and shared by African visual storytellers. Photographers have narrative power and the photographs in this publication are more than just snapshots of reality. They introduced old spaces in new ways while highlighting the perspective of the person behind the lens. Contributors: Paul Addo (Ghana), Fekadu Baye Belay (Ethopia), Abraham Acquah (Ghana), Bantubahle Khotso Mahlangu (South Africa), Phopolo Maloka (South Africa), Hafsa boraei Mohammed (Sudan), Malembo Simbano (Tanzania), Butsya Smith (Uganda), Derrick Magezi Kagena (Uganda), Maingaila Muvundika (Zambia) Usher Nyambi (Zimbabwe), Thamsanqa Sibanda (Zimbabwe).
From the African Streets Volume 1: See My city is a photography focused publication by Unpublished Africa. While each city has its own ebb and flow, one thing remains consistent from city to city and country to country – we need more stories documented and shared by African visual storytellers. Photographers have narrative power and the photographs in this publication are more than just snapshots of reality. They introduced old spaces in new ways while highlighting the perspective of the person behind the lens.
Contributors: Paul Addo (Ghana), Fekadu Baye Belay (Ethopia), Abraham Acquah (Ghana), Bantubahle Khotso Mahlangu (South Africa), Phopolo Maloka (South Africa), Hafsa boraei Mohammed (Sudan), Malembo Simbano (Tanzania), Butsya Smith (Uganda), Derrick Magezi Kagena (Uganda), Maingaila Muvundika (Zambia) Usher Nyambi (Zimbabwe), Thamsanqa Sibanda (Zimbabwe).
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FROM THE AFRICAN STREETS 1<br />
1. Gijima mfana.<br />
Simply put "Oh Run Boy, Oh Boy" this is a desperate<br />
plea from an unlucky employee who was grabbed by<br />
retrenchment and chucked away to <strong>the</strong> confines of his<br />
campestral environs. Now he asks his pal who's<br />
assumedly in town oftenly or ra<strong>the</strong>r still employed as<br />
shown by <strong>the</strong> company logo (WT is acronym for<br />
Western Transport which is a courier and logistics<br />
company) at <strong>the</strong> back of <strong>the</strong> worksuit which <strong>the</strong> cyclist<br />
is wearing, to go and lend an eye at <strong>the</strong>ir workplace<br />
and implore from <strong>the</strong> would-be employers for a<br />
second time of employment as his retirement was<br />
impromptu and way too soon.wami awusekho la,<br />
Donnington, KoBulawayo, Zimbabwe, 2023<br />
2. Umoya wami awusekho la.<br />
No words would can fully articulate <strong>the</strong> message and<br />
feeling that title toge<strong>the</strong>r with <strong>the</strong> image carries.<br />
Perhaps "take me aback to <strong>the</strong> good olden days" or<br />
"heal a butchered, bruised and tortured soul" comes<br />
closer, but NO! somethings are better off left unsaid.<br />
3. Ngisake ngikhumbule kahle.<br />
Memories, nostalgia and rememberance are part and<br />
parcel of this shot. Big factories that were operational<br />
and head-quartering <strong>the</strong> largest companies in <strong>the</strong><br />
nation during <strong>the</strong>ir hey days are now reduced, left and<br />
turned into churches today. In every chat I have had<br />
with an elderly who worked during "thuntu<br />
ziyathunqa" era passing through <strong>the</strong> site invokes a<br />
poignant feeling and always initiates a long chat<br />
detailing how <strong>the</strong> productive, busy and beautiful <strong>the</strong><br />
place used to be. That's why <strong>the</strong> piece is called ngisake<br />
ngikhumbule kahle which means "Let me remember."<br />
23
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