#tani-oluwaseyi

#tani-oluwaseyi

Eshu's proverb tells both a story of reparation and of ancestrality by joyfully bending spacetime conventions and accessing subjects from the past with present actions.

Eliades Ochoa's aura is so powerful that under the generous rays of sunlight streaming through the large window on this March morning, he evokes a Western film.

After a long stay away from this land, it is returning to its own people and it is an honour for us and a relief to welcome it. This is the missing piece of the puzzle that is returning today. Receiving this sacred instrument is a relief, but it is also another form of connection with our ancestors who were very close to this instrument.

Gomis told DW the film includes a tribute to his late father. Part of the production was filmed in the village where his father was born, in the Cacheu region of Guinea-Bissau. "The grave you see in the film, the one the two characters speak to and touch that is my father's grave. The photograph of that man in the film that is my father," he said.

When Norman Sylvester was 12, long before he garnered the nickname "The Boogie Cat" or shared a stage with B.B. King, he boarded a train in Louisiana and headed west, toward the distant city of Portland, Oregon. He'd lived all his life in the rural South, eating wild muscadine grapes from his family's farm, fishing in the bayou and churning butter at the kitchen table to the tune of his grandmother's gospel singing.

The photos, in Ollie's words, lean towards "quiet symmetry". The photo Man on Bike, a particuarly pleasing shot which shows a figure stationary, seemingly pausing to take a call, is often mistaken as staged. According to Ollie, it's "entirely serendipitous". He continues: "I was wandering through Ikoyi when I saw him stop, completely unaware of me, and everything just aligned - the colours, the posture, the stillness."

Walking through Ideas of Africa: Portraiture and Political Imaginationat the Museum of Modern Art, I noticed that the exhibition didn't have definite sections or texts, and the wall labels abstained from naming the nationalities of the photographers. It was an invigorating experience to be in a show that eschews geographic boundaries set up by Western nations, as well as rejects a cause-and-effect narrative that centers Western colonialism as a framework for understanding African aesthetic production.

From Senegal to Somalia and Egypt to South Africa, credit alert notifications from fintech apps such as Western Union or WorldRemit often set the mood for the rest of the day, week or even month. Transfers from workers within the continent and the diaspora to their relatives are often referred to as the black tax, whereby one person's salary and relative success can become the safety net for a whole extended family.

We both live in maybe the most impractical place if you want to be a successful DJ, laughs Alice Marie Jektevik, one half of Article 3, a Sami female DJ collective. Jektevik, 36, and her collaborator, Petra Laiti, 30, reside in a rural village in the far north-east of Norway. But living in Sapmi the region across northern parts of Sweden, Norway, Finland and Russia traditionally lived in by Sami people has proven to be central to their success, providing the inspiration for much of their work.