Head of an Oba (King), circa 1700s, from the court of Benin. The crown, with its pattern of crisscrossed beads and junctures marked by a dot in the center, is characteristic of this period. The three raised marks above each eye are called ikharo, believed to represent scarification marks. Men would usually have three, while women and foreigners would wear four.

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10

Maki Oh: Fall 15/16

Maki Oh’s Autumn Winter 15\16 collection explores the idea of adopted identities as result of West Africa’s long history with cultural appropriation. It is an idea that has spun through all Maki Oh collections. Dutch Wax lends itself as the starting point of this research.

“As an advocate for all things truly African, Maki Oh uses true African textiles like Adire, Aso-oke, Akwa Ocha, Oja and more to continue to illustrate to the world (and Africans) that we have desirable, couture quality local textiles. Ankara fabric (Dutch Wax) does not have it’s origins in Africa. It is imported from Holland, India, Turkey, China and even England. But the world, and even some Africans think this fabric is African. Holland’s Vlisco’s current website proudly states “VLISCO HAS BEEN ROMANCING THE MEN AND WOMEN OF CENTRAL AND WEST AFRICA FOR ALMOST 170 YEARS AND HAS BEEN EMBRACED AS THE VERY FABRIC OF LIFE IN MANY SOCIETIES.”

This season, Maki Oh dissects the fascination and perception of these fabrics as African, along with other concepts that have been imported from other continents and have found home in West Africa. The idea of the African mermaid, Mami Wata is of particular interest, as it originated from a photograph of a Samoan snake charmer that appeared on the coasts of Nigeria in 1887. This image of a beautiful, long-haired woman holding a snake captured the imagination of West African indigenes who then projected meaning and symbolism onto the photograph, forming a powerful cultural myth around it. This is how simply and astonishingly the idea of Mami Wata was formed.

full collection

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Dedicated to the Cultural Preservation of the African Aesthetic

5

Hope Alive: Survivors of Boko Haram {Meet Your Photographer – Nelly Ating}

My name is Nelly Ating, I am a feature writer and a street photographer for four years now. I’m from Akwa Ibom State but I in Yola. I am on a mission to document faces of survivors of the insurgency in practice of peace journalism.

Visiting internally displaced persons camp at Damare, Adamawa State, the children happily went around cleaning their surroundings like they never stayed in the bush for days feeding on dry corn and dirty water. As some narrated, they had to escape the terror into Cameroon after watching close relatives get slaughtered by members of Boko Haram. When Nigerians act like the plight of Boko Haram cannot visit them in the comfort of their homes, it eludes where our unity and loyalty stands as a Nation. Seeing these little hopes alive and acting like the gun shots that they escaped was a joke, is up-lifting. (see more)

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Dedicated to the Cultural Preservation of the African Aesthetic