The radical beauty of Africa, in portraits | Iké Udé

27,725 views ・ 2018-04-03

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In 1996, I was commissioned by the Guggenheim Museum
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to execute a large body of work called "Uses of Evidence."
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It was a cube --
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a very well large cube, at that.
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Each side had a window
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in order for the spectators to view the interior of the structure.
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The exterior of the structure was a collage of Africa and Africans
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as portrayed in the Western media and literature.
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A look through the windows revealed a sharp contrast:
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within the cubes are tranquil, civilized, domestic images
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of African family members, friends
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and Nigerian professionals,
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ranging from writers, poets, fashion designers, etc.
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The thing is,
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both the exterior and the interior images are quite true.
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But the images captured by Western media
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overwhelmingly depict Africans as basically primitive at best,
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or barely distinguishable from the African animals.
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Not much has changed, I'm afraid, since 1996,
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when I executed this work.
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I began my professional photography practice in 1994,
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but my passion and enthusiasm for photography
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goes back to childhood,
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when my parents arranged for us to be photographed
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by a professional photographer
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on almost a monthly basis.
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It was also an opportunity for my siblings to dress up in our latest gear,
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made by our tailor.
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Later, when I was in boarding school,
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my friends and I bought Polaroid cameras,
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and then I began to experiment with self-portraiture,
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or what I would call
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"proto-selfie auto-portraits."
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(Laughter)
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"Cover Girl 1994" was my first major work
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that was critically well received in the US and Europe
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and quite instantly became a part of the school anthologies
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at universities and colleges.
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With the "Cover Girl" series,
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I wanted to reimagine the magazine cover
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with imagery totally unexpected, yet profoundly reasonable.
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The "Cover Girl" series proposed a different way
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the African can be represented in a more complex manner.
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Like "Cover Girl," the "Sartorial Anarchy" series
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is made up of self-portraits.
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It is an ongoing body of work, started in 2010.
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In each image, I married disparate costumes
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from widely diverse traditions, countries and time frames.
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And in mixing eras, cultures,
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I was able to bring harmony, as it were,
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to their similarly irreconcilable differences.
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These differences became a source
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of inspired artistic celebration.
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For example,
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in "Sartorial Anarchy #4,"
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I mixed a boater hat,
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inspired by the traditional Eton-Oxford College Boat Race,
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with a green Afghan traditional coat
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and an American Boy Scout shirt --
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a culture clash that works.
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In "Sartorial Anarchy #5,"
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I wore a macaroni wig,
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inspired by eighteenth-century macaroni headgear from England.
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This was paired with a British Norfolk jacket,
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Yoruba Nigerian trousers,
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and, improbably, a South African Zulu fighting stick.
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All harmoniously coexist on one body.
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And with "Sartorial Anarchy," I began to invest more
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into the organization of my pictures.
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I also began to investigate the vast possibilities of color:
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its emotional values,
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psychological impulse,
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poetic allure
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and a boundless capacity beyond the realm of meaning and logic.
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Now, enter Nollywood.
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In October of 2014,
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I returned to Lagos, Nigeria, after over three decades away
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and took photographs of 64 Nollywood personalities.
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I captured a cross section of the industry,
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as well as the next generation of rising stars.
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Nollywood is the first time that you have a school of African filmmakers
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truly, truly, profoundly in charge of telling African stories.
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In their varied movies --
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from romantic movies, horror films, gangster movies to action movies --
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one sees Nigerians portrayed with many layers of complexities.
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All the Nigerian, or "Naija," archetypes, if you allow, are there --
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from the divvers, the "Shakara," the coquette,
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the gangsters, the rich, the corrupt politicians,
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the whore, the pimp --
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all in their swagger.
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And of course, you have the lowlifes and the losers, too,
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all vividly portrayed.
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Nollywood is Africa's mirror par excellence.
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Typically, I direct all of my portraits,
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from the way my subject conducts his or her head,
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the way the neck is tilted,
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the expression of the fingers,
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the gestures of the hands,
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to the gaze
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and overall bearing and countenance.
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Let me describe some of the photographs for you.
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Genevieve Nnaji.
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She is the reigning queen of Nollywood.
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Here, I was quoting from the grand, Pharaonic African cultures
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of the Nile Valley civilizations;
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namely, Egypt, Sudan and Ethiopia,
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so as to imbue her with a stately, ironic, calm grandeur.
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Taiwo Ajai-Lycett is the grande dame of Nollywood.
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Every aspect of her being commands attention.
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So I posed her with her back to the audience.
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Her face turned to meet us with a redoubtable gaze.
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She doesn't need to seek our approval.
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She's all that.
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Sadiq Daba.
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There was an unspoken authoritarian and imperial bearing
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that Sadiq Daba exudes upon meeting him.
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In this portrait, he simply sat
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and allowed his massive, massive Nigerian caftan
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to signal his status.
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Quite an accomplishment.
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Belinda Effah.
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Belinda Effah's portrait allowed me to indulge my passion for color,
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dressed in a long, fitted blue dress that emphasizes her curves,
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seated on an upholstered green velvet bench.
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I gamely employed the multicolored carpet
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and a vibrant color,
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in order to evoke the splendor of the multicolored painted bunting bird.
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Everything was designed to harmonize the figure of Belinda within the frame.
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Monalisa Chinda is, shall we say,
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the epitome of the luxe existence and lifestyle.
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Her picture, or portrait, pretty much speaks for itself.
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Alexx Ekubo is a sharp study
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in simplified elegance and dignity
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and a harmony in blue and white, as well.
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Enyinna Nwigwe is a Nollywood matinee idol.
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There is whiff of the rake about him,
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and that gives him an enchanting edge.
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That's what I felt when I designed and organized the portrait.
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Now, Nollywood is a new phase of Africa.
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It is modern, post-modern,
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meta-modern, bold
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sexy, shrewd
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and with a contagious attitude worth catching.
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As the finale of the project,
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I assembled the Nollywood stars
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into a group grand portrait of 64 subjects,
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called "The School of Nollywood,"
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which was inspired by Rafael's "School of Athens,"
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that was done circa 1509.
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It is at the Vatican.
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This grand group portrait
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is the exact same size as Rafael's "School of Athens."
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It measures roughly 27 feet in width
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by six and a half feet in height.
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Nollywood also exemplifies a type of modernity
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never before seen in Africa.
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Think of it:
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there has never been anything so ubiquitous
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with such iconic optics
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to come out of Africa
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since the Nile Valley civilizations
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of Egypt, Sudan, Ethiopia.
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Outside of Nollywood,
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the image of Africa remains frozen in the old "National Geographic" mode
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and safari perspective.
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But as Africans continue to step and see themselves portrayed by Nollywood
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in their varied and fantastic complexities,
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they will, in turn, propagate and perpetuate
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the positive image of themselves.
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This is what Hollywood did and continues to do for the West.
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As shocking as this may be,
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it is almost a taboo in the art world
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to show Africans in a modern framework --
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that is to say, as polished, dry-cleaned,
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manicured, pedicured and coiffed.
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(Applause)
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Part of my job is to keep beautifying Africa for the world,
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one portrait at a time.
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Thank you.
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(Applause)
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