Sunday, 7 October 2012

Diary of a Border-Bieng - Libreville Gabon



Traversing the Mist | Tiben - Cameroon | Emeka Okereke | IB 2012

This morning, I woke up at some few minutes after 5.am. My head was pounding with a slight headache and for the umpteenth time, I slept in my clothes with my wallet and keys in my pocket. But I woke up to the dawn of the morning in Libreville, and looked out the window. I was hit by a pleasant view accompanied by a pleasant feeling. That inner excitement that comes with being in a new place, the excitement of knowing who I was even though I didn’t know where I was. Sounds were a mishmash of speeding cars, and the crows of roosters, as if the city was in struggle with the countryside in attempt to determine which best represents it. But Libreville is a city of many facets. The rich are richer with the too-good-to-be- true cars and plush appearances, while the poor are very poor, minding their business mostly in the "quartier populaire" which is not the most popular part of the city.

Since we arrived here, I must say that there is, and has been something really strange about being here. I shouldn’t experience this strangeness given that I speak enough French to easily get around in a Francophone country. Yet, it feels like those moments where you are at your clumsiest. Perhaps this will straighten out. I don’t know.

When we arrived here the Nigerian presence and especially that of the Igbos was a shocker, the extent to which they have integrated. We spent time at  "La Gare Routiere" where they have their shops and daily business; we ate at an Igbo restaurant and mingled with some of them. We came to learn that the relationship between Gabon and Nigeria dated as far back as the Biafran war when many Igbo families fled to Gabon and did not come back after the war. Since then there has been subsequent generation of Igbo-Gabonese. A new dimension is formed from this circumstantial intermingling of peoples - it gave rise to " Francophone Igbos". This I find quite interesting within the discourse about borders. Borders are always there; an attempt to affect it only shifts it to another position in the map - be it the physical map or the socio-cultural. 

Borders are, at face level, what divides us. But profoundly, it is equally what brings us together to contemplate the possibility of co-existence. And in that process a third dimension is formed which in itself produces another demarcating line, another border, but at once, an intertwining of different people and perspective. Therefore borders are what they are: vague and immaterial as entities. It is not the end result of a process of demarcation and unification, but a function within that process. Borders are shifting lines that emanates as a result of the necessity to individualize, socialize or classify, but never the cause of it. This is why borders will be found everywhere and anywhere human beings make the attempt to transform or transcend existing state of being. It is like a double-edged sword and will conform to whatever form for which it becomes useful. Therefore, what is left to us is to decide to what use we could put this shape-shifting entity called borders, but never if we should ever use it at all. 

The Van is the Asset, The Access.

As we moved from one city to the other and then from one country to the other, one thing is more constant than any other: The van we are travelling with. In nowhere has it (the van) become more physical than in traveling from Nigeria to Cameroun and Gabon. It became a symbol for the impossibility that occupies the minds of many. Everywhere we go within Cameroun and Gabon, this huge 4-meter-long van of is imposing and difficult to be unnoticed, but much more is the Nigerian matriculation number of our vehicle. One could tell that for the Nigerians living in Cameroun and Gabon, Nigeria is a faraway home, one they can visit only after about 6 months of pre-planning and pre-saving. And for the Cameroonians and Gabonese, it is just that Anglophone country with their Anglophone brothers further away than France. 

We see the disbelief that shrouds their countenance when they spot our van in Douala, Yaoundé or Libreville. Some of them walk up to us to ask if we have truly travelled by road to these places or if we had to fly in our van by air. I am tempted to believe that the mere sight of our van must have caused a jolt of their sensibilities and their perception of proximity. I am assuming (rightly an assumption) that in spotting our van, they could now draw a line, a path, indeed a  road, in their minds from Libreville to Lagos. It becomes a possible line; a line, unlike a hypothesis, has every tendency to become tangible. This was made possible by the presence of our van than of us. 

In contemplating this, and the tedious and near-impossible nature of this traversal from Lagos to Libreville, coupled with the metaphorical importance of the van as a constant entity-in-motion harboring human beings who were bound to adjust to the events of the journey, the van becomes a Tunnel, a passage way for which it was possible to move from A (Lagos) to Point B (Libreville) in sometimes roadless conditions and we are obliged to adopt the van as a living space, sleeping and eating in it for about three days in a row. For me, it is difficult to see any interval in the journey from Lagos to Libreville; it is a single line knotted together by the constant displacement of the van.

Therefore the role of our van on this year’s trip has gone beyond a mere means of transportation, but in essence has become a symbol of that Trans-African line which in spite of all obstacles and challenges have managed to offer an alternative by which this journey becomes real and imagined.


Written during and under the framework of Invisible Borders Trans-African Road Trip Project 2012.
 www.invisible-borders.com

Copyright: Emeka Okereke

Tuesday, 26 June 2012

Traversing From West to East

Veiled Stare, Central Market N'djamena by Emeka Okereke. IB 2011


Traveling has been a very important aspect of my existence. More so because it represents that phenomenon by which everything living is animated – Journey. To travel is to journey and in every journey there is a story. Stories take you on a journey from what or where you were to where and what you never imagined to be. There is a constant discovery of the limits and abilities of oneself. I say that life will be lifeless without the journey in and away from oneself.  To journey is to be the story while telling the story at the same time.

Recently, I travelled from Lagos to Addis Ababa in the company of a group of artists –photographers and writers from Nigeria, Ghana and Sudan. The whole idea was to travel by road under the framework of the Invisible Borders project. We ended up traveling by every means imaginable (except by train) as the adventure inevitably offered us more challenges and fun than we had envisaged while everything was still in Google Map.

We spent close to 45 days sharing the same means of transportation as well as accommodations, getting into each other’s skin and of course feeling the heat of never having a “personal time”.  As a backdrop, let me reiterate the whole idea of the Invisible Borders project. It was conceived in 2009 with the aim of uniting African artists mostly photographers but also writers and filmmakers towards addressing issues and limitation posed by the disjointedness of the continent as a result of the imposed borders. So every year, selected artists come together and embark on a journey by road, taking off from Lagos towards a specific destination in the continent. This has been consistently so since 2009, and so far there has been two editions. The journey that I am about to speak of is the third.

As in every other project especially the adventurous, there are numerous challenges, but the most significant of all in our case was the issue of security. This played a centre role in all decisions which led to this journey from the West to the East of Africa. We had to travel from Nigeria through Tchad, Sudan and eventually arriving in Ethiopia. These routes are conflict ridden from Nigeria to Sudan with Ethiopia being the most peaceful so far.

The challenge began with deliberations within the participants who were to make the journey.  A better part of these deliberations were based on deductions from a constant research in the media as well as accounts from some source regardless of if it were a personal account or hearsay. I personally, recall spending a great deal of time researching these conflicts.  Truth be told, it felt like all media agents, had already made up their mind on what and whatnot to report. As if there was some sort of consensus to say just one thing but in different words and different online platforms. It got me all the more excited, it was glaring and obvious that there is a story not being told, one that you will “never know if you never go”.  On countless accounts, I stumbled on websites of Countries like England, Canada, Italy etc., warning its citizens of the dangers of travelling to such places as Sudan and Chad and even giving them guidelines on what and whatnot to do in order to be safe. As an African, I reflected: what has this got to do with me? I am neither Canadian nor British; therefore these websites and “Safety Guidelines” are definitely not for me.

On this basis I made up my mind to embark on this journey contrary to all the hearsays even when they were “proven facts”.  There were also people – friends and well-meaning individuals who thought we had a death wish; that we were on some sort of suicide mission. But again I say as Africans about to embark on a journey by road in Africa through routes reported to be conflict laden, what other advantage do we have other than our African-ness? And if we do not put that advantage to work by trusting that we will find our way around this soil which gave our feet it’s shape, contours and textures will we not continue to be at the mercy of other people’s opinions? Then what right do we have to say we are Africans when we too look at our continent through external eyes?

When one considers that these media agents, these brokers of exchange between peoples of different realities, these middlemen who are propagators of everything negative about the continent as mostly telling the story as justified from an external point of view, then it becomes glaring that the story missing is that which is yet to be told by those who are internally involved with the continent. I do not think that my family and friends both Africans and non-Africans are wrong with their well-meaning advice, but it is also very important to understand from what mindset they are right. Could it be that they are projecting their own fears and not mine? I do believe that fear is a personal property and is only transferable as long as the recipient is vulnerable to it.

Of course this point of view is in no way an attempt to insinuate that there is no cause for alarm. Indeed there is, hence the need for precaution – no one wants to replace bravery with foolery. After all, as part of the precautions we decided to go by air from N’Djamena to Khartoum so as to avoid the Darfur region in Sudan of which we were not able to ascertain the level of the conflict in our favour. Arriving in Khartoum, or precisely just when the city came into view, none of us was in any way ready for what we were looking at from above  - that was the first practical realization of how messed-up we were in our heads with all the presumptions aided by the media.  Just that aerial experience, which at this point could even be termed peripheral, was staunch indication that we know nothing of Sudan despite our detailed research. We merely filled our heads with presumptions arising from the logical follow-up of a country whose conflict has been hyperbolized to leave anyone to be thinking anything good and positive of such a country or people.  This is also what most people in the Western countries do: they sit in their living rooms, legs crossed and read from a newspaper or watch from a television, they watch a programmed vision which at most is a twisted reality. Then they pride in being “up-to-date” with the “news” but in reality the news has been tailored to leave them stuck in the olds, in an outdated perception of Africa. Therefore, the so-called advancement “being-in-actuality” through the media is nothing but an illusion. Africans too are becoming like this especially when an incident that took place in Africa will first be reported in BBC, CCN or Aljazeera before it is disseminated by the local news agencies. 

On landing at the airport terminal, everything immediately became exceptional: the mere fact that it was one of the most sophisticated airports in Africa; that we were immediately able to connect to the internet and inform the world that “Invisible Borders team just arrived in Khartoum”; that there was a big signpost saying “Welcome to Khartoum… I hope you brought your Camera”; that just to be sure, we asked one of the immigration officers if we could begin to make pictures right from the airport and he said "yes!" were all too good to be true considering that we were in Sudan of all places!

Meeting with our Sudanese friends and colleagues was the first introduction to the hospitality and warm-heartedness of the Sudanese people living in Khartoum. Ala and Faisal proved to be efficient hosts in all sense of the word. Despite all of this, we still remained a bit skeptical until the last minute. Some of us even thought it was all orchestrated to feel and look so considering that Khartoum is the seat of Government, so they will try as much as possible to keep it “cool, calm and collected”. Compare that to N’Djamena, where the president has been in power for some twenty years. Yes, he is one president who has tried to dislodge the idea that all dictators are bad. But by merely arriving at the airport in N’djamena, one already begins to sense that there is something really wrong about this country. The airport is practically in shambles and one wonder how it could ever fit into the standards of the international aviation industry, how any country can allow its national carrier to land in such shambles.  Then the president’s abode is not too far from that airport. It stands well protected with torrents of guards at every corner of the building (And I remember asking myself “does he have a private airport in his mansion? Does he not take off from this same airport every time he wants to travel abroad?”). Then comes the only monument worthy of praise, Place de Nation standing prestigely in the city Centre – but of course right in front of the presidents Mansion. Most of the citizens believe the president has their interest at heart. But as a visitor, it is so obvious this is not so, that this people have been cajoled into believing so.  One of us pointed out that the many bottles of beers and numerous bars for which their nightlife is greatly defined by is some bribe from the government to the Chadians in N’djamena.  When one walks the streets of N’Djamena, there is always this unsettling feeling; people are a tad too alert for comfort. You sense that they are not free people; they are just walking the street looking so. At every hundred metres there is a policeman or a soldier.

As photographers, going out to the street everyday, it was a struggle because you have to first of all fight off this mental imprisonment, and then when one eventually summons effort to lift his or her camera, you were immediately confronted! From the taxi driver, to the child on the street, it was constant hostility to the cameras! But in attempt to transcend that Invisible border, our attempt to make photos despite the opposition came off as a protest, a manifestation against this notion of “imprisonment”. It became more so when we were arrested at the Central market and held for six hours, just for making a photo in the market.  The fact that we were stooped from making photos for at least six hours did not stop our work for one minute, for amongst us was Emmanuel Iduma the writer who though without a camera was able to “capture” the experience in writing. In the future, Invisible Borders will concretise this idea of its participants being an admix of photographers, writers and filmmakers because at this point it proved the only way our work could not have been interrupted.

So our skepticism in Khartoum was well founded considering that we were flying in from N’djamena! But the sense of relief at experiencing Khartoum was a highpoint in the entire journey. It was at this point that all the excitement that will take us to and fro the journey came rushing in! Making pictures in Khartoum was of a blessed experience. The people were constantly receptive of our presence and moreover curious as to our purpose of visit. We had authorizations to make photos from the office of the ministry of tourism, but we never had to use it except when a policeman thought we photographed him.  Besides making photos, we had the opportunity (and luxury when compared to Lagos, Abuja, Jos or N’djamena) to have a lengthy conversation with our subject and share the photos with them through the display screen of our Canon digital cameras. Some of us (the ladies) even got gifts form those they photographed and shared with. I personally speak of this second dimension to our photographic experience – this gift of sharing and conversing with our subject after the picture was made – as the most priceless of all experiences of this journey. We would go on to experience more of this as we traveled from Sudan to Ethiopia. 


Mr. President, Military Cantonment N'djamena-Chad by Emeka Okereke


If I should then make a sub-recap of our experience at this point of reflection, I would say that contrary to popular opinion, we had the best time and liberty both in working and networking as we traveled from Sudan to Ethiopia, than we did traveling from Nigeria to Chad.

In Nigeria, the areas of conflict were mostly Jos in Plateau state and Maiduguri in Bornu state. The later happens to be the headquarters of Boko Haram as well as a site for some of their horrendous attacks on innocent lives, while the former is the battleground between Moslems of the Northern Nigeria and Christians of the Eastern region.  Abuja, the capital of Nigeria seems to be the laboratory for the experiments by Boko Haram and some people who lived there have been made the specimen.

In our chosen route, we had to drive through the heart of these cities, while spending nights in some of them.  In driving across Maiduguri, the city was like a collage of battlefield and residential town.  Soldiers were everywhere with sandbags at every corner of the city.  These soldiers were there to ensure peace. On our way back, we had to drive past Maiduguri by night! I was really impressed with the dedication of these soldiers. All night they stood in watch at practically every 500 metres, in the cold from the desert wind, sometimes sitting around a coal fire to keep warm.  Because of them, it was possible for us to drive through Maiduguri to Jos at 1 am in the morning.  Besides, they were nice and courteous, as long as we were cooperative. When I saw them standing in the road, in the dead of the night with nothing but dark forest to remind them of their location, I was forced to ponder on what would make the soldier chose a job like this, and why he was dedicated to it. Does he really believe in serving Nigeria and her citizen as his ideal quest, or is he just doing this for lack of something better?  It would indeed be more noble and satisfying if the former was the answer, but something tells me it is more of the latter because truly Nigeria and the way she is run by the elites leaves one with little or no cause to believe in nationhood.

As we journeyed across countries cities and tribes from West to East, we experience differences which were only highlighted by adopted cultures and mentality, but when it comes to indigenous ways of being, there is this feeling of oneness, this understanding that exist even when there is no understanding. Even when regarded as peoples of different tribes and languages – Ethiopia feels like Sudan, just like it could feel like Tchad or Nigeria, not of course in an absolute sense, but more by basic modes of existence and behavior. Often times, we hear one of the participants exclaim: “this could be anywhere in Nigeria!” There is that thing about the people of Africa, their modes of living, reasoning, “being” that makes Africa feel like one gigantic country but with countless tribes.  At this juncture, I am propelled to contemplate the existence of national borders; its relevance or better put, its detriments. Especially when we know how they came to be in the first place, that it was a result of nothing but a gluttonous scramble for the continent. Therefore should we allow these borders determine our relationship with each other since it has already outlived its usefulness?  Of course I am not proposing that the borders be physically eradicated but I believe we could reduce its importance to mere formalities while we continue our lives and relationships unhindered by it. For I agree with His Excellency, Ambassador Paul Lolo when he affirmed that it is a glaring fact that Africa is better off united than divided.

These borders pose unnecessary bottlenecks, but more so because the leaders of our respective countries – our fathers in whose sense of judgment and conscience lies the future of the toddlers of today and those unborn – have chosen to make this of secondary importance. But if only we can understand the pricelessness of knowledge especially in the wake of globalization, then we will immediately realize that there is something priceless lying on the other side of the walls which we have erected for ourselves for whatever reason, be it for protection or in a bid to assert our identity. And it is in our best interest that we explore what lies on the other side. True human development can never be achieved in isolation, more so when this isolation is from immediate neighbours.

In nowhere was the essence of such concept as Trans-African exchange felt than in Addis Ababa, which also happens to be the headquarters of the Africa Union and has been so since the time of OAU (Organisation of Africa Unity). Coupled with the history of Ethiopia as the only non-colonised country in Africa, therefore equipped with a strong sense of African-ness, one might be pushed to assume that they would be experts on matters that relates to Trans-African exchanges. But it is indeed the contrary. In as much as they are very hospitable and of calm temperament, their sense of independence has naturally lead to some sought of isolation from the rest of the continent – that kind of isolation that one can readily experience in places like Sao Tome. 

Therefore while we were in Ethiopia, we realized that our presence was not of a common place as one might be tempted to think, but something that the Ethiopians were just beginning to open themselves to, namely: that hunger to share and exchange with people from other parts of the continent. This hunger coming from the Ethiopians was what made our visit more significant than we had ever imagined. It was readily felt in all nooks and cranny, from the photographers who worked with us to the journalists who reported the project. They were practically confessing “ this project aimed at the integration of Africa is the first of its kind for us”.  Not that these ideas have not been over-flogged on various platforms both inside and outside the continent, but to them it was the first time they experienced it is such practical and tangible form as traveling by road from the West to East of Africa just to prove a point on Africa Unity.

Besides Aida Muluneh, the director of the Museum of Modern Arts Addis Ababa, who played the host for the project and  grand presentation, there was also the Ambassador of Nigeria to Ethiopia, His Excellency Paul Lolo whose high regard for the project was a staunch prove of the point made above. I will also mention the enthusiasm with which the former Ethiopian Minister of tourism Mr. Ato Hapte Sellasie received us and the project; but also the crowd that showed up for the presentation at the Museum. 

The whole idea of the 2011 road trip was to make Addis Ababa the apex of the journey. But little did we know that, this would come to be as a natural consequence and not as a premeditated strategy of the project.

Ethiopia may have been the headquarters of OAU since 1963 and that of AU since 2002, but it was glaring that the majority of Ethiopians were yet to understand what that really implies. OAU and AU have only been evident behind close doors of Conference structures and occasionally jam-packed hotels as a result of visiting political delegates, but it has never penetrated the sensibilities of the average Ethiopian.  It is only beginning now, through practical and tangible projects such as the Invisible Borders Trans-African Photography project and the Addis Ababa Photo Festival . Projects heralded by ordinary citizens of Africa who believe that by using themselves as the proverbial guinea pig, others of their generation and reality might be inspired to walk the walk towards Africa Unity.


The Cunningham Street Meeting, Piassa- Addis Ababa by Emeka Okereke

It will be pretentious to insist that a bunch of artists traveling every year by road will bring about the big change so needed as urgent as things are.  But we set out on this journey bearing in mind that our aim is to inspire others of our generation and predicaments to join the cause.  To adopt the words of Kemi Akin-Nibosun, one of the participants of the 2011 edition: “let us be the catalyst and let Africa be our canvas” for which we paint the story that will eventually become our history. To take that further, I will add: “let us use the space and let the space use us”.  In this light we are convinced that the Invisible Borders project and the concept it propagates is a landmark by which we can behold that long-awaited era of a new Africa free from self-destruction and destruction  enforced by external entities.

In all the countries visited, there is a common denominator: the zeal and passion of this generation to join minds together in working for the benefit of all in the continent. We sense this in form of a defiant energy – that which refuses to be bridled by existing norms. It is true that with the state of things in Africa one can only speak of this energy as existing in only a few Africans when compared to the entire population. But despite that, it testifies of a window towards a new era. We should capitalize on this. We must capitalize on this if history will not repeat itself for the umpteenth time! 

When I say this, I do not in anyway place our ability to achieve this in the hands of our respective governments. No, gone are the days when we offer ourselves as humble subjects to our governments only to be short-changed over and over again. No, our government will listen to us, not by us screaming at them, but through our actions they will be inspired to right their wrongs for it will be glaring that they will become redundant if they do not join this sweeping energy. We will continue to demand that they live up to expectations, but we will not do that with hands crossed and waiting for them. They need to be inspired by us. We are calling on our prodigal fathers to answer to that responsibility so that the nobility that once belonged to fatherhood might be restored.  

We will not stop in our quest to build a Trans-African Africa. It is not for now, it is for when now will become  then.


Wednesday, 16 May 2012

Transcending "Africa"


Beautiful Obstacle by Emeka Okereke. IB 2011 (Lagos - Addis Ababa)

In several terms, Africa has been bombarded with various nomenclatures in times past in efforts to define and sometimes cup its complexness. With vast stretches of lands, landscapes and intricate networks of people, making up one-sixth of the world’s population, that are constantly evolving, it is indeed understandable that it makes for concision to coin singular terms in order to abbreviate this ever dynamic continent and all that comes with it.

Such terms as Pan-Africanism—which was a derivative of the much-coveted Afrocentrism and a product of the European slave trade—had, for a long time, paraded the consciousness towards African unity or more expansively, Afro-unity. Black consciousness, whose most loquacious proponent was the South African activist Steve Biko brewed by the events of apartheid era, is another which tends to align with the same aim—all geared towards moving the black race and continent towards a new identity unbridled by the straps of Western interventions. Lately, the Cameroonian philosopher Achille Mbebe, in an attempt to offer an extension to these thought processes unravelled new perspectives through Afropolitanism.

One thing central to these terms as they evolve is that they seem to be hinting at the values of exchange between Africa (both as a race and a continent) and the West (more as an ideology than a race). At first it was in staunch opposition to Western ideologies and a retracing of roots within the continent, followed by a call for a conscious acceptance of the values embedded in these roots as legitimate rather than them being a sub-civilisation. Most recently it hovers somewhere between taking those values as the fundamental kernel, without any need for justification or validation while reaching out to other cultures. Now, Wole Soyinka’s “A tiger does not proclaim his tigritude” could well read, “A tiger does not need to proclaim his tigritude to dine with a wolf.”

This gradually points to the fact that gone are the days when ignorance is detrimental only to the ignored. Like a boomerang, it is bound to alienate those who do not strive to become a part of the knowledge pond in which every race in the world strives to bathe mutually, without necessarily proclaiming their respective tigritude. This is the outgrowth of the increasing interconnectivity of a global world. Beyond that, it also signifies that Africa or African or Black- whoever of today will be very difficult, if not impossible, to summarise with any pre-saved template of a definition of Africa, especially not a template synonymous with external perspectives. This holds true even for those who live in the continent and have never set foot outside it—those purported to be “very African”.

In the art sector, which I would like to speak about specifically, it is as if one is stuck in time with all the talk of “African art.” The term African art or African artist, as it is used today whether connoting art or artists from the continent, is now in a state of dormancy with a lack of movement or life, as if stale. More so because it is like a box, romantically decorated from the outside, with which we strive to contain many variables in constant motion that seek to break out from their confinement. Perhaps it would have been appropriate to talk of Africa a century or even decades ago with the same set values that we tend to define it now, but can we also talk about this “Africa” with all the events recorded in the belly of its history without in fact projecting the past verbatim to the present? Should the definition of Africa not take into consideration the transient forms by which its core manifests today?

In a conversation with the Berlin-based, Cameroonian curator Bonaventure Soh Bejeng Ndikung, he made a point that the term “African artist” is still valid in every sense and is not in itself perishable. He continued that one must not reject the appropriateness of the term for the sake of a few (whose pseudo- or non-knowledge of Africa offers only a nose view). While I agree with this notion, I believe that more vigor and activity has to be injected into the term not by a redefinition, but by a re-evaluation. The Africa of today is constantly undergoing change, and not just changing but reaching beyond limits set by pre-saved definitions. It is indeed in the continent’s nature and that of its people to defile statistics and pole projections. A city like Lagos with its 17 million inhabitants is among one of the many fitting examples of such transcendence, but also Congo’s Kinshasa, Cairo, and even Sudan as a Nation State. This characteristic of “going beyond” the preordained is as a result of unplanned pressures and tensions from all angles on the quest for survival and sustenance. They are equally met with unplanned solutions, which invariably escape the charts of analysts.

Therefore, rather than talk of the African artist, I propose that we talk about the Trans-African artist. The prefix Trans- by definition connotes “going beyond”, “transcending,” and in some cases implies a thorough change. It suggests dynamism and vigour—that from which something unpredictable emanates. It equally implies crossing back and forth, like in an exchange, and wherever there is exchange, a boundary is traversed into unfamiliar spheres where another dimension takes on existence. Although this term has been used mostly in relation to economic factors as it pertains to particular geographic structures such as in the case of the Trans-African Highways—roads constructed across the continent by the African Union in collaboration with The Africa Development Bank aimed at promoting trade in the view that it will consequentially alleviate poverty, it could equally apply as a metaphor for the method of artistic exchange, or any other exchange for that matter, in Africa today.

It is important to lay emphasis on this idea of exchange as a distinctive quality of Trans-Africanism. Here I want to mention that the Trans-African Highway, which, for the sake of analysis, we could adopt as a physical symbol of exchange, was never promoted during the colonial plague. It was far more advantageous to have an Africa that the colonizers could define according to their gains, and it is no new knowledge that any chance at African unity or even exchange was greatly shattered during the power ping-pong played during those decades. Therefore, as we propose to carry this term over to the arts, one begins to see that is implies building artistic highways, bridges, and links with one another. It implies an Africa unhindered by any form of border or location, whether physically, in thoughts or in ideas of creative processes. As Achille Mbembe duly noted:

These states and borders were mere fabrications, there is really in the strictest sense nothing in them that would have us exalt them... it is imperative, therefore, to do something different if we want to breathe life back into Africa and in so doing revive the possibilities of the survival of art, philosophy, and aesthetics that will surely contribute something new to the world in general.1


The Trans-African artist is the artist whose sensibilities transcends or goes beyond the pre-saved definitions of what constitutes art from Africa. They draw inspiration from exchange between peoples of diverse tribes and countries within the continent without having to contest, compare, or seek validation for these sensibilities. They do not seek a definition of Africa in their African-ness because Africa is what they make of it and not the other way round. Trans-Africanism is the ability to transform African-ness into fluid forms that need not be defined. It is not an outside covering, but an inside mechanism of networks and exchanges. Therefore gone are the days of long pens writing about Africa from New York and Paris without having ever set foot on the continent—no, boots must get dirty first. There is no African art if it all depends on the whims, taste, and even the political knowledge of a curator or collector in Paris who neither understands nor partakes in the reality in which the artists create these works, whether she or he is French or French-Senegalese.

The Invisible Borders Trans-African Photography Initiative takes its cue from this re-evaluation. It is a project whose essence lies in promoting exchange and building links between artists and artistic processes within the continent and beyond. It is dedicated to nurturing photographers, writers, and filmmakers with a consciousness towards the dividends of exchange and networking within diverse cultures and people. This concept only takes the African continent as a departure point, but is not in any way limited to it. For those in the diaspora it calls for a rejection of brain-drain and blind integration as a dangerous disease but, better still, embraces the schizophrenic nature of multi-experiences as an advantage in the human advancement. This relives the deduction made by Mozambican writer Mia Couto:

The ambivalence of African intellectuals, politicians, and artists must be viewed as something positive…It is a foundation that may well contribute to the invention of an identity conceivable only in a dynamic and changing manner. Being inside and outside as well is an advantage in a world whose borders are eroding. 2


The concept of Trans-Africanism attests to the non-linearity of the human experience and the elasticity of human capabilities. Instead of reinforcing borders through clinging to an identity for fear of losing oneself, we ought to see ourselves as work in progress, constantly in motion and activity, and finding ourselves in each other’s identity, a communal identity so to speak. In as much as my view is inclusive of all humans and all races, I strongly stand by the fact that it falls on Africans (artists or not) to encourage this exchange greatly amongst themselves in order to continuously consolidate that which constitutes the core values, for charity which begins at home will never leave the stomach foodless while parading its goodwill abroad.

There are many projects operating in/from Africa and Europe that are mostly founded by Africans whose activities echo the attributes of Trans-Africanism. A few of them include: the Pan-African Circle of Artists (PACA), Nigeria; Art Bakery, Cameroon; Art Moves Africa, Belgium; Mobility Hub Africa, Belgium; Creative Africa Network; Appartement 22, Morocco; Doula Art, Cameroon; Centre for Contemporary Arts Lagos, Nigeria; The Addis Foto Festival, Ethiopia; Kuona Trust, Kenya; as well as artist-led projects such as “Do We Need Cola Cola To Dance?” by dancer and choreographer Qudus Onikeku. These endeavours are pointers towards a new era in Africa’s art scene where the parameters of artistic processes are recorded and evaluated by activities from within the continent rather than from lofty heights of external intellectual misappropriation. And despite the odds against the survival of an independently flourishing art industry, these artists and art operators keep up the good work. 


Footnote:
1. Achille Mbembe, "Afropolitanisme", Le Messager, Decembre 2005
2. Mia Couto, "Africanidades: Las identidades huidizas", in Emergency, coord. Alfredo Jaar (Leon MUSAC/Actar 2005)


Article first Published by: 
1. The New Museum, New York in the exhibition Catalogue: The Ungovernables, Feb. 2012 
2. Savvy Art Contemporary Art Journal (Berlin) 3rd Edition

Wednesday, 11 January 2012

Sao Tome: Island of Greens and Decay


Distant Decay (from the Series: "Sao Tome"). Sao Tome, 2011. By Emeka Okereke 


Sao Tomé. Until only a few days ago this Island has been somewhat of a miniscule dot on the map of my consciousness. I have heard of it, even managed to spot it in the map a few times, but I usually gloss over it with enough interest accorded to an obviously not interesting subject. Today, I am here. Invited by the biennale of Sao Tomé and Principle. A biennale initiated by the artist, João Carlos Silva and curated by Adeleide Ginga.

I am self-obliged to walk the streets, discover its contours and create work out of the interaction between this space and people. As always the case, in the first two days, I was detached, that feeling of not knowing what to make of this new location. But as time went on, I began to acclimatize with the place as my eye guided my mind, uncovering layers over layers of reality embedded within this wild vegetative Island.

It is a small Island with only 180,000 people. Coming from Lagos where this figure can barely match the population of an average street, it felt as if I was on “pause” – everything moving slowly and forcing me in that pace. It is an island where nature dominates. Everything man-made seems to be engulfed by the freshness of nature. There are more trees and forests than people and due to this, the people have a unique relationship with nature. Food is abundant because the land and plants are far from barren. All year round the trees produce all kinds of fruits. It is an Island of immense greens. Where only the thought of the concept of selling “bio” foods at acutely exorbitant prices becomes immediately ridiculous.  Every tree churns out fruits by number, plantains, bananas, Guava, Cocoa, Cocoa nuts, Palm nuts, avocado, tomatoes, pepper, cassava, potatoes, mangoes, oranges, grapes and much more.

I was told that Cocoa used to be the main export but today this has shifted to the traditional herbal medicine from roots and plants.

The feeling that one gets from this place is that the Island sustains its people and will continue to do so as long as there is sunshine and rain (the later being too frequent that an umbrella is a more valuable asset than a pair of shoes). In the way of material acquisition, we do not see much. The cityscape is plagued with old dilapidated building of obviously Portuguese architecture. One could tell that much has not been done in terms of an independent advancement since its independence from Portugal in 1975. 

The buildings are chipping away with every passage of time, with no scheme towards preservation talk more of restoration – they just stand there obtrusively like phantoms of a colonial past, creating a picture of people meandering through “beautiful” shacks and rubbles.

But all of this is perfectly cocooned every inch of the way, by the freshness and liveliness of the many plants and trees and no matter where one stands, a glance to a far horizon reveals sea, a perfect reminder that here, one is circumvented by the Atlantic.

The images I made during the few days I spent in this Island, is an attempt to seize the mood of this place, and how it conveyed to me a certain form of serenity and confidence in just being in tune with nature.

To see images from this project click here

Saturday, 10 September 2011

Once upon a cold Berlin - Part 1

I traveled out of Nigeria for the first time in 2003, and since then I have not stopped. I am one of many Nigerians who are usually harassed and humiliated even before there was a reason for it – and usually for no reason other than my “green passport”. I have had the opportunity to live in the so-called first world, to integrate as much as becoming one of them through opting for nationality, but my mindset has always been simple: “I am a Nigerian by birth and by lineage, whatever comes after that is secondary and I can do without”. I consider myself a traveller and not an immigrant. So I carry my Nigerian passport everywhere I go, bracing myself for the worst at every checkpoint.

In February 2010, one of my trips within Europe was brutally cut short and I was forced out of the continent. What did I do? I exceeded my visa for a period of eight days! I was stopped at the Schonefeld airport in Berlin by the Polizei (German federal Police), as I arrived from Paris. What followed next was a journey through the nightmares of so many immigrants and deportees of which none are written about because the government of most of these western countries continue to hide their disdain for immigrants under the carefully-crafted modern slave-tool called immigration policies. Moreover, the people who often fall victims to these humiliations are those who will never have the means of making their voice heard. So every single day, stories of organised crime under the disguise of the law go untold, while most of the citizens of these countries remain in the shadows of a truth veiled by their government. Once in a while, news come from the desert and the sea, of many immigrants who drowned or were shot dead as they try to traverse the borders, but a whole lot of them make it through the desert hell, only to find a colder hell waiting for them within the walls of deportation camps and the cruel fists of the police backed by scornful immigration policies.

More than a year has passed since my ordeal, but I do believe I owe it to many immigrants and deportees all over the world to recount my experience and indeed publish it.


Berlin – Shonefeld, February 2010.

Looking at me from afar, I fit the profile for those who are always stopped and checked, and then when checked, I fit the profile, of those who ought to be thoroughly checked, so that was what happened, my passport was taken to their office and they checked all of my visas one by one (they were probably surprised at how many visas there were, you know, that good-to-be-true feeling). Unluckily for me, I had all this while been reading the Schengen visa wrongly, I never knew my visa was expiring, I thought I still had at least a week to finish my business and head back to Lagos via Paris. I will not bore you with long stories, neither do I want you to get discouraged from reading on seeing the number of pages, but it suffices to say that what for me felt like a fiction got more and more real, as I was thrown into the detention room, told I cannot go into Berlin and finally I will have to see a judge who will decide how best to go back to Lagos right from that airport. But it got more interesting, as these procedures led me not only to the judge, but to the detention camp where I spent three nights with a whole lot of other deportees, mostly Africans, and – to be expected – Nigerians!


Ignorance of the Law is No Excuse

Like I said earlier on, my offense was that I exceeded the validity of my visa by Eight days. I was given a multiple Schengen visa by the French embassy which had validity of 6 months, but with a clause which says I can only stay for 90 days. From experiences with other countries I had visited like South Africa and Mozambique, this will mean that on no account should one overstay a period of 90 days in ONE entry. This was how I was thinking, but it turned out that according to the Schengen, the law is completely different. With this same visa, I have been to and fro Europe on three occasions. On the day of the incident, I was going from Paris to Berlin to spend four days there and then leave for The Netherlands where I was due to have a PhD entrance interview at the Leiden University. I had no luggage, because all my photographic equipment and luggage were still in Paris where I ought to return in a week’s time to board my return flight to Lagos. I had barely crossed the baggage hall when a German policewoman walked into my way in other to stop me. Well, I anticipated that, it’s the most normal thing, in fact, it has become so frequent that at times I resist the impulse of walking up to them myself and handing over my passport!

The Police lady flipped through my passport, (I guessed she was not blind to all the many visas and stamps in there and they were not all Schengen visas which means, there are other countries in the world worth visiting). She managed to find the visa in question, and according to the dates, it was valid, but she was not convinced. She worked away with my passport and came back in what seemed like 15 minutes to announce that I violated the law. First of all I laughed, and asked myself if she was that desperate to find a fault. Then she began to explain: although according to the dates, my visa was still valid, but I was given a 90-day stay, which means the summation of my three visits to Europe must not exceed 90 days, and here I already exceeded by eight days! So in those 15 minutes I waited, she was actually busy calculating my entry and exit dates for all my three visits to Europe since I was given that visa.

They say ignorance of the law is no excuse, and in nowhere is that so true than with the German police, at least from my experience. There was no common-sense consideration for my situation. There were many ways they could have resolved my problem, but the immigration policies were made to be hostile and severe, all to the ill fate of immigrants. There and then, I was taken to their office in the airport. Here, I must say that the only police officer who treated me with dignity was the man who took on my case from the Lady who stopped me. But after him, everything else was hell. He took his time and explained the situation to me, and made me understand that he too, is a servant (or rather a slave) of the law and must do what he must.

Now, I can’t go into Berlin, and I could not believe my misfortune when they told me I will have to go back to Lagos from that point. The painful truth is that I will remain on the transit area of the airport until morning when I will be presented to the judge. I was also told that I could be banned from Germany. Wow! Banned, I have been to Berlin over eight times, and even lived there for more than three months, on no occasion did I over-stay my welcome, not even in Paris where I lived for four years, but here I am, facing a ban for a flaw of only eight days! What kind of law is it that overrides common sense, if not the one designed to inflict pain rather than justify?


The Judge

It was February and Berlin was cold. Trees, houses and all the greens where hidden under cakes of snow, swampy streets and foggy skylines. All these I could make out from the van I was been driven in, through a tiny window space. This van was built to transport criminals as the last half of it was a cage of metals and a lock. This was where I was sited – cage locked, and in handcuffs. To the policemen, they were probably doing another round of a routine, but to me it was horrible, humiliating, to be treated like a criminal, in a cage like an animal and much worse because it was a “crime” against freedom of movement. Every of my being rebelled against this abject subjugation of my freedom. Everything seemed strange and unwelcoming. The police, the air... Berlin.

I felt a sought of a surreal loneliness. Here I was, locked in this van, and I cannot even see where I was driven to or those driving me, all I could discern where series of stops and turns the vehicle made. It was not as if I was going to be physically tortured or killed, but the feeling of heading towards an unknown destination, and moreover against one’s will could play a nasty trick on one’s sense of being and existence. The fact that I am being transported by human beings who are more or less like trained robots in their attitude, made it all the more chilly.

Before the van ride, I had been held at the deportation room at the airport, a room of about 10m² with white walls and a long wooden bench. Nothing else. The first humiliation came when the police came in to do a routine search – on my body. He had clinical gloves on both palms and asked me to undress up to my bare skin, completely naked! I calmly refused, protesting that I passed through the airport surveillance and I had no dangerous object on me. They said it was routine, I told them they may have to skip this one, I could only go until my boxer shots but I will never show them my penis! The policeman stepped out for a bit, then came back and told me it is fine to keep my boxers on.

This scenario will repeat itself on two occasions at the deportation camp of which one of them lead to them trying to force my boxers down.

Now, before the judge, I stood, with the policemen who brought me. She was a female judge. To tell you how tolerant the Germans are to foreigners, none of the Germans in that room, the policemen and the judge inclusive – could speak any other language other than German. However, there was a translator (he was also a lawyer) from Mali with a greasy hair all combed backwards, he looked like he should replace one of those figures in posters of Dark & Lovely. He translated English to German and vice versa. Somehow he gave off the impression of being a puppet on their string.

My first question to the judge was if someone could tell me why I was in handcuffs. The police replied that it was for my protection. I asked, “Protection from myself, from you or whom?” Even though I was careful not to fall into the trap of Africans-are-violent? The answer to that came with an instruction from the judge not to put me on handcuffs henceforth.

The judge looked at my passport and admitted, that my case was that of an uniformed traveller, but the procedures ought to be followed: I will have to be deported to Nigeria! But before then I will be held at the detention camp until the police finalise the modalities of my deportation. By this time, I was having “fun”. I was caught up in the mixed feeling of ending all of this nonsense, and just leaving Berlin, and the curiosity to see what the detention camp is like. So I kept calm, and said myself, “Go with the flow”.

To be continued...

Next: Deportation Camp!

Sunday, 22 May 2011

Exchange In Changing Times


As I sit to write this article, I am yet again confronted with a double intuition: should I? Should I not? This stems from the fact that the issue I intend to address contains aspects that lends itself as inevitably important because of its positive attributes, so much that it feels incomplete not to pen it down. But within this also contains situations that breed causes for unrest and scepticism usually seen with dealings of exchange involving these two concepts: Africa and the West. In my mind, it is as if this mixture is unpleasant, as if one contaminates the other, making the option of saving my mind’s breathe very tempting. But again, my mind has a way of rejecting all the sleeping pills especially if it is saddled with something worth sharing. So as an attempt, I will endeavour to sift the grain from the chaff, not to eliminate the chaff, but to place them side by side with the grain.
In June 2010, I got an email from a Spanish organisation known as AECID, an arm affiliated with the Spanish ministry of culture. It was for a photographic project in Spain. The concept was short and direct to the point: seven photographers living in Africa are being convened under a project known as Africa.Es (Africa dot Es), a project which will see each photographer from a particular country photographing an assigned city in Spain, for just a period of one week. It is an initiative which rides on the back of the AECID’s many agenda towards promotion and development of cultural exchanges between Spain and Africa.
Exchange! The big word, the contemporary word, a word with several connotations, some use it when they want to mildly say “aid”, or “globalisation” and to add the good old brother, “colonisation”. Therefore whenever I hear that word, my antenna instinctively begins to tingle, watching out for underlying meaning. Such was my impression of the first email, but then this proposal came with an adjoining clause: the photographers are to be invited for seven days to their respective cities in Spain, and could use their time in the city as they wish without any limitation nor suggestions as regards the theme, style and the medium with which they approach their work. There is no specific amount of images to be delivered thereafter; neither was there any curator to play the middleman. Equally, the monetary promise could actually be termed quite satisfying, the photographers will be well paid from the author’s fee to cost of pre and post production, which leads me to the first argument about exchange:
It is the norm for African artists and curators to be invited to exhibitions and commissioned projects only to be promised little or most times nothing in the way of a financial reward. I speak here specifically of the plight of the artist from Africa, much worse, those living in Africa. If there is a slight shift for the better, it is mostly seen with those of the Diasporas, who through proximity and a true knowledge of the system could obstinately insist on their right, but even at that it is still deplorable. In the spirit of exchanges as they often claim, how can one ever justify the fact that despite the shortages in funding, that an organiser is able to produce an exhibition and sometimes even invite the artist to the opening but could not afford an author’s fee? And sometimes even a per diem? Recent cases involve utter humiliation of the artists by transporting them several miles to a venue only to offer them dungeons for accommodations. Some that I know tend to answer this question by asserting that exhibitions in museums and festivals are not the key source of income for artists, but rather galleries and art fairs. But in counter-argument, any exchange suffices as a source of income for the artist as long as a budget is designated for such a project. In my opinion, it is the vestiges of the utter undermining of the artist in relation to her works, coupled with the fact that negotiations demands a two-way agreement and African artist seem to assume or rather have been conditioned to believe that they can’t peel off the price tag on a commodity and call for a renegotiation.
It is not so much about the actual amount than is a sense and a feeling of mutual exchange which becomes absolutely void when an artist is deprived of any of her rights. Beyond the monetary implications of an author’s fee, it also plays a symbolic role especially in Africa where most people still regard art not as a career. It is a manifesto in counteraction of that notion. It becomes increasingly important, that a certain amount of money is earned for every honest artistic endeavour. It does not devaluate the artist or her source of inspiration, if anything the lack of money is counter-productive. There are countless examples of such extortions in the name of exchanges but one pattern I have noticed is that, these people tend to “help” the artist in public, but steals from her in private. When I say this, my thoughts align with all these kangaroo awards and call for applications, reminiscent of wolves in sheep clothing.
Having ascertained my position on the above, it is imperative to point out that a selected few in the wheel of the artistic mechanisms do embrace the concept of exchange by according the artist her rightful compensations both monetarily and ethically. The Africa.Es project falls deservedly in this category. The artists were not considered beggars who even with their consistent record of outstanding talent and achievements still needed to be sympathised with. The terms of exchange were clearly spelt out, “you have what I want, you want what I have”, and it was respected. Furthermore, the monetary implications of the profession was not intertwined with the artistic demands of the project giving rise to one patronising the other, but rather each entity had its own orbit of operation and was treated as if on par with each other.
A second argument relates to the concept of freedom of manoeuvre within the volatile abundance of the creative magnetic field. A project which assembles artists together but offers them the freedom of free thinking beyond the safe-margins of themes, subjects or models creates the foundation and the only platform needed for genuine creation. Already there is a sense of “fresh emanating from the anticipation that something new for the artist – even if not for the art scene – will take form. In cases like this, it is even alright for the artist to be confused with an absence of a landmark to begin her creative process, for inherent in this confusion is the ability to detach oneself from familiar norms.
The South African artist, Zanele Muholi who amongst other things she suffers as a result of the subject of her quest, is at the brink of being marked with the stigma of a “queer photographer”. Being a Lesbian herself, her works are stark revelations of her sensitivity towards the marginalisation surrounding same-sex. For the same reason, she is somewhat of a hotcake for all those art projects that would want to identify with such boldness. But to her, she feels she is becoming an object of art-politics because the essence of her work was as a result of a natural course of events, that which has to do with the artist investigating her personal unrest, but it does not conclude her essence, she is other things besides a lesbian photographer, and as a young artist, the only way to explore that part of herself( which could still be unknown to her) would be through projects which do not play to into the hands of order and classification.
In the Africa.Es poject, she was assigned the city of Las Palmas de Gran Canaria. Plagued by the language barrier which was a shared predicament between all the photographers except Arturo Bibang from Equitorial Guinea, she found herself in an unfamiliar terrain. As Patrick Wokmeni from Cameroun stationed in Seville asserted in his essay “being away from home is confusing, but this uprooting experience could be productive artistically speaking”, Zanele found herself struggling with the absence of verbal communication (which is confirmed was a deficiency) coupled with being faced with a different subject – the Island. From that came a new body of work which lacks nothing in the intensity and starkness of her previous subjects. She photographed landscapes which embody the juxtaposition of beauty with imperfection, not as something to be repudiated or condemned, but as the inevitable adverse of the human condition – “as long as we are human beings, we will always produce a by-products in the quest towards perfection, so take note even in the white man’s land there is imperfection far from the stories we’ve been conditioned to”. She didn’t need naked female subjects to make her point.
In the same light I perceive the work of Mamadou Gomis, from Senegal who photographed in Bilbao. The rendition of his perception of the city through the elderly, enveloping them in an aura of vivid but subtle colours and shades, forces the question: did he have to specialise in how to photograph the white skin? Of course not, but in detaching himself from the reality of his Senegalese backdrop, immersing himself in a new space, helped by the fluidity that comes with the freedom to just observe, tantamount to a retreat, he was able to capture those images that could have easily disappeared in between the lines was he to approach the subjects with the seriousness of a thematic assignment.
Other photographers not yet mentioned are Nii Obudai, from Ghana, assigned to Valladolid, Mohamed Konaté from Mali who worked in Barcelona, and myself, from Nigeria assigned to Madrid. The catalogue of the project, of about 283 pages featuring about 12 to 25 works of each artist also bears texts from these artists. Texts from Miguel Albero (head of departments of cultural cooperation and Promotion), Santiago Olmo and Salvador Nadales both independent writers herald the concept of the project, providing a backdrop for the understanding of its departure point. All textual contents are in three languages: Spanish, English and French (in that order). Looking at the catalogue, one agrees immediately that nothing was compromised in terms of quality, at the same time was not overloaded with over-ambitious ambiguous chit chats which would have been distracting. The texts from the two writers were rich in content, while being modest. It is not a book made in Spain for the photographers, it is a book made by the photographers, in Spain.
Having said all this, we are not oblivious of the fact that such a project is a political agenda, and as such must fulfil that purpose. During the opening we witness in various instances, politics at play. Some photographers pointed out that a few of the images they would have preferred in the catalogue were omitted mainly due to its content. While such an argument could easily get lost in a valid counter-argument that not all works could have fitted into the catalogue, it still remains viable that the photographers think this is not proper. But most important is that the photographers own the exclusive rights to their images and are not restricted in any form to show them in any of their future projects, including those not shown.
Such is one of the models of exchange in these changing times, worthy of commendation if dealings between two long-opposing concepts – Africa and the West – will ever be considered anything near the fruitful expectations of human equilibrium.
The views I have expressed above are my analysis from a point backed by opinions picked up from artists who also were part of this project. Though I may have sounded too certain of my views, that is because I am certain of the point from which I analyse. However, I do not claim any authority besides that bestowed on me through the power of the freedom to express. That suffices for me.
© Emeka Okereke. The Hague, March 2011