‘Queer Women Are Behaving Badly’ with Ayodele Olofintuade

Written by Inioluwa Ayanlowo

Edited by Veronica Vivi

Illustrated by Maïa Walcott 

Even in this day and age, the ideal Nigerian woman is a woman who is reserved, soft-spoken, and uninformed. She has made it her mission to remain calm and attractive to men, as she desires a successful marriage. While it can be tiring to constantly strive to satisfy the fragile male ego, she does not wish to be labeled as difficult: she has become so accustomed to being scrutinized for every detail of her persona that she simply wants to be accepted and does not wish to have to face life alone.

Add queerness into the mix and she will be condemned to always be in the background. After being constantly served homophobia with a side order of sexism, the Nigerian woman is content to just hide away and lead a life in the shadows. Ayodele Olofintuade taught me that sometimes you can dutifully follow society’s dictates and it still will not be enough to be accepted by it. So, as I was introduced to the Lakiriboto Chronicles at Ayodele Olofintuade’s 2021 Christmas Party, I understood the appeal of being a badly behaved woman. You can virtually be a mannequin and society will still find faults in you, so why not be badly behaved?

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The subversion and empowerment of Léopold Sédar Senghor’s “Black Woman”

Written by Hope Olagoke 

Edited by Veronica Vivi

Illustrated by Sâde Popoola @shadz_art

Poetry (either reading or writing it) had always been a form of artistic expression I tried to evade – a habit I picked up from secondary school as I found poems often ambiguous. My swift decision to major in English and literary studies in university lacked a reminder that I would have to deal with poems throughout my degree. A course I took in my junior year of university introduced me to Négritude, a cultural and literary movement that laid importance on embracing African heritage and identity. Therein, Léopold Sédar Senghor’s “Black Woman” was recommended as a Négritude poem written by one of the reputable figures, who pioneered this significant cultural movement. Thus, I discovered the masterpiece that would not only ignite my love for poetry, but also awaken my sense of self as African and, above all, as a Black Woman. 

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‘On Black Sisters Street’ Showcases the Nuances of Sexual Trafficking

Written by Precious Uzoma-Nwosu

Edited by Veronica Vivi

Illustrated by Noella Abba


While growing up, there were rules set by my father that were never to be compromised on, and among them was not spending holidays with another family aside from our own. I was greatly disturbed by this boundary, as my friends often share tales of their visits to their relatives’ houses after the school breaks. As I became wiser, I realized that my father felt his children would be safe from sexual exploitation, including sexual trafficking, if we stayed within his watch. Therefore, it was home, school (although boarding), church, and places that were supervised by him or my mother – he did not want to leave any loopholes.

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I May Destroy You, Atlanta and Get Out: Afro-Surrealism and the everyday horror of Blackness

Written by Laura Hackshaw

Edited by Veronica Vivi

Illustrated by Daley North

This is a show tune
But the show hasn’t been written for it, yet

Hound dogs on my trail
School children sitting in jail

Black cat cross my path
I think every day’s gonna be my last

Lord have mercy on this land of mine
We all gonna get it in due time
I don’t belong here
I don’t belong there
I’ve even stopped believing in prayer

–  Mississippi Goddamn by Nina Simone

‘‘Afro-Surrealism is drifting into contemporary culture on a rowboat with no oars…to hunt down clues for the cure.’’

–  D. Scot Miller – Afrosurreal Manifesto: Black is the New Black a 21st Century Manifesto (2009)

*This essay contains spoiler alerts for several TV shows and films

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Learning the Multiplicity of Being with Akwaeke Emezi

Written by Amuna Wagner

Edited by Veronica Vivi

Illustrated by Olamide Florence Adeoye aka Sharp Txngue

Do you believe in spirits? And does it matter whether you do? Akwaeke Emezi taught me that to Black people this question is essential for collective survival the day I stumbled upon Freshwater (2018) in my partner’s bookshelf. The novel pulled me into the life of Ada, the child of a Nigerian father and Tamil mother who suffers the pain of being a spirit trapped in flesh. An ọgbanje, to be exact. Ada is born a screaming baby “with one foot on the other side” (back cover), only a half-step ahead of madness. When she moves to the United States for college and her boyfriend sexually assaults her, spirits that have been living inside her emerge and assume increasing autonomy: the feminine Asughara, masculine Saint Vincent, and a collective “We” of brothersisters. Ada continues life as a fractured, multiple being, navigating her several selves’ desires and darkness.

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Octavia Butler is in Defence of Failure: Kindred’s Black Grief as a New Dawn

Written by Alma Simba

Edited by Katya Zabelski

Illustrated by Sage Anifowoshe

I come to Dana through Saidiya. And Saidiya comes to Dana in relation to Venus. We all convene under a sky of grief particular to black women. Of the crushing weight of history. I pick up from where Saidiya leaves off. The archive, the futility, the resignation to language and history never being enough. Of failure as the new sky. But maybe also the new dawn.

*

I come across Kindred by Octavia Butler in a reference by Saidiya Hartman’s 2008 article, “Venus in Two Acts.”  In the article, Hartman explores how the history of domination must be accepted by black people to try and untangle it. The article functions as a continuation of her earlier book, Lose Your Mother, where she charts the journey of the middle passage, loss, and connection to history. In “Venus in Two Acts,” Hartman continues this historical reconstruction and methodological struggle when she writes of a young girl who was murdered on a slave ship with little further information cited in the records. In both, Hartman highlights the difficulty in deciphering the blankness and violence in black historical narratives, while discussing the different options in the weighted obstacle of writing black history. 

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Sisters of the Yam and (Re)politicising Mental Health with African Feminisms

Written by Michelle Udoh

Edited by Temitope Lasade-Anderson

Illustrated by F. Seck

I think of mental health as the world’s lingua franca. I hear it spoken in the kitchen when female relatives season their meat with salt, Maggi, and tales of patriarchal violence. Its cadences caress the mouth of my elders as they gather and recount harrowing memories of the Biafran War. My friends and I speak it quite fluently as well: we use it to gist and articulate the many pains and joys that come with adulthood. The fascination that I have with this language, one that entwines our psychosocial wellbeing with our lived realities, is the reason I chose to study Neuroscience for my undergraduate degree.

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What’s the price of feeling seen? Dido Belle and historical representations of Blackness

Written by Kimberley Aparisio 

Edited by Katya Zabelski 

Illustrated by Holly Summerson

In the summer of 2021, I wandered into Kenwood House, a stately home situated in the middle of Hampstead Heath, North London.  Therein, I encountered this image.

Princess Henrietta of Lorraine, attended by a page (1634) by Van Dyck

Princess Henrietta of Lorraine, attended by a page (1634) by Van Dyck

The portrait provoked thoughts about the infantilisation of black men and the reinforcement of spurious inferiority through images and media.  I continued to make my way through the gallery, where I came upon the only other historical portrait of a black person.

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Hope is a Nigerian citizen in ‘Of This Our Country’

Written by Oluwaseun Famoofo 

Edited by Veronica Vivi

Illustrated by Grace Kaluba

I still remember the days my parents and their friends would sit in the living room, ardently discussing the politics of the land. I used to be scared someone would knock on their doors and arrest them for even daring to speak. Freedom of speech in Nigeria is an illusion, and so is the right to vote. To be a patriot or to not be, I have spent my life asking myself this question. But I ache for this country, a country where a lot of citizens keep saying their daily “what-ifs.”: what if we were never colonized, what if the amalgamation did not happen, what if we all united? Reading “Of this our Country” reminded me of  “There was a country,” by Chinua Achebe – the Nigeria he grew up in is so different from that which has been handed to us, the new generation of Nigerians.

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Digital artwork - a blue background with circular shapes overlayed in yellow and black. On the left hand side there is an outline of the African continent

History as Imagination: Black Dreaming as Liberation

By Alma Alma

Edited by Veronica Vivi

Artwork by Natasha Ruwona

Words are important for history as it is through words that history is told. So, what is the language of an untold history? It is the language of imagination, dreams, of interpretation of the tongue. For marginalised communities, history is the study of loss – a loss that is sometimes irretrievable. Without conventional historical sources, the past remains a locked door, but with an imaginative approach through a combination of personal experience, memory, and creativity there can be a re-construction of the past. With black history often found in oral traditions, folklore, and music, these stories are frequently at odds with more conventional historical practices such as written documents and official records, thus leaving them unexplored and untold. The work of black women writers such as Dionne Brand and Toni Cade Bambara shows how this hurdle can be overcome through an illustrative and imaginative writing practice.  

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