Yagazie Emezi


Cultural Anthropologist & Africanist

None of the images posted here belong to me unless stated otherwise.


Filipe Branquinho: Occupations

This set of pictures was held in Mozambican cities, in order to capture its spirit through architecture, landscape and its occupants. The focus of this work is a particular social group that represents a majority and that is present throughout the urban fabric: in large cities, in the suburbs, the coastal zone, in gated communities, etc.. Each photograph is unique and wants to dignify the portrayed in the exercise of their occupation and how it communicates with the space it occupies. It is in this set of pictures that cities are elucidated in the light that surrounds them, in the color palette and in the history of people who live there.

"Mozambican photojournalists went through many different episodes of the local history. In a very short period of time they saw colonialism, the Independence (in 1975), post-colonialism, socialism, communism, civil war, democracy and today’s dynamic capitalism. But, the main subject of their photos was always the people and injustice that they faced in their daily lives".

1. Student Employee

2. unknown

3. Packer

4. Carpenter

5. Gardener

6. Fireman

7. unknown

8. Building Supervisor

9. Barber

10. High School Security

11. Coach

12. Baker

13. Car Repair Shop Guard

14. Boxer


French male models Maël & Francis in an african vintage setting for FASHIZBLACK Magazine’s november 2013 issue. Shot by Ernest Collins.

Issue currently available: 

(via streetetiquette)

One of my old posts for StudioAfrica


Growing up in Nigeria, one of my favorite bi-weekly activities fell on a Saturday when I would trot off and get my hair buzzed for school. I always stuck to one barbershop because you grow to realize that it’s hard to replace the one person you trust with your hair. You become fond of the background noise of laughter, swear words and insults, you appreciate the tattered magazines falling off tables, and you are soothed by the humming of the razor against your scalp - Yagazie

Photographer Andrew Esiebo spent three months documenting the barbershops of West Africa, all very much varying in appearance. But regardless of what they look like, be it in Mali or Liberia, barbershops carry a deeper social and cultural meaning other than simply a place you get your hair cut.

Andrew Esiebo started out in photography by chronicling the rapid development of urban Nigeria as well as the country’s rich culture and heritage. As his work began to gain international recognition, Andrew’s started to explore new creative territory, integrating multimedia practice with the investigation of themes such as sexuality, gender politics, football, popular culture and migration. Source

(via yagazieemezi)

Got off work and this is what I do: Dance one of the greatest movie dance scenes with my crappy webcam lol.


Love story Uganda by 

(via foxxxynegrodamus)

illbewhateveriwannado said: do u not like tht because u dont like ppl touching ur hair, or is it a racial reason? because ive had black ppl do this to me too (im a black girl myself). nd i see alot of black ppl do this to those wit naturally straight hair as well. jst wondering

I do not like ANYONE touching intimate parts of my body without my persmission. My hair is intimate. It is not socially acceptable especially in a work environment to reach out and touch someone’s hair. As part of haptic communication, acceptable areas are the hands, arms, shoulder and upper back. Being touched anywhere else by a stranger or a mere acquaintance, I liable to interpret it as rude, suggestive or even threatening.

I also live in New Mexico where the majority of hair-reachers are not white but with all parties, they tend to do so because it ‘looks so fluffy’ or there’s an apparent attraction to the mere texture. All annoying.

Went to another branch of my office for a birthday get-together and the second I stepped foot into the office, a co-worker squeals, “OH MY GOD! Your hair! I want to touch!” And proceeded to extend her hands and greedy fingers towards me.

Surrounded by my supervisors, I held back on my natural reflex to grab her hand and push them away from me and instead, I stepped backwards and said, “No.”

Before the awkward silence of the lady’s discomfort could settle, a white male co-worker breaks it by saying, “You shouldn’t do that. Can you possibly imagine how often people do that? Do you know how annoying that is?”

For the sake of the little Chicano woman (and supervisors), I chuckle about it before changing the subject.

It is annoying I couldn’t react normally because I was in a work setting. I work in a very open and comfortable environment, and unlike other places, I jolly well could have educated her on what she did wrong and faced no consequences, but it was refreshing to have a male step in and say part of what I would have. -YAGAZIE EMEZI


I enjoyed viewing love this shoot done byGilad Sasporta a fashion, portrait and art photographer based in Paris. We’ve all seen this sort of scene before; african setting with glammed up model creating a stark contrast to everything around her, but it is refreshing to see African models interacting in the same setting.


Barron Claiborne started taking pictures at age ten after receiving a camera from his mother, at which point he decided, “God, maybe I’ll just do photography, then I won’t have to do anything else.” Claiborne went on to develop a true penchant for the craft, and created a unique style, working primarily in large format and experimenting with 8x10 Polaroid film in order to lend a bronzed, overly textured quality to his photographs.

Claiborne’s photographic influences are often derived from his Southern and African ancestry, and he uses his work as a canvas for representing the tales and oral traditions at the roots of his heritage. For the past 3 years, Claiborne has focused on the bodies of women, saints, and goddesses. His work has appeared in a number of publications including NewsweekNew York Times Magazine,Rolling Stone, and Interview.


Chief Festus Sam Okotie-Eboh (1919-1966) was a prominent and flamboyant Nigerian politician and former minister for finance during the administration of Sir Abubakar Tafawa Balewa.  Despite being mentioned in several corruption allegations,  Okotie-Eboh is still regarded as one of the founding fathers of Nigeria. He played his role in the formation of the nation and leading up to and following Nigeria’s independence. 



Cyrus Kabiru is a Kenyan self-taught sculptor and painter. He crafts artworks from found objects he collects in the streets of Nairobi and is best known for his series of eye-catching handmade spectacles.

"Currently practicing in Nairobi. He is a self taught painter and sculptor. His paintings are often humorous portrayals of contemporary living within Kenya. Kabiru adopts the role of a flâneur, the observer, explorer, and lounger using his paintings as the output for his experiences. His sculptural work embodies his role as a “collector” of Nairobi cast offs. Kabiru fashions and refashions these waste, recycled, and found materials into various forms. Currently he is focusing on a series that depicts African nature using thousands of bottle caps sewn together. He is perhaps best known for his C-STUNNERS, an ongoing work which where Cyrus creates and wears artistic bifocals. The work sits itself between fashion, wearable art, performance, and one of a kind commodity objects. C-STUNNERS have a certain energy and playfulness that really captures the sensibility and attitude of a youth generation in Nairobi. They portray the aspiration of popular culture bling; they reflect the ingenuity and resourcefulness of people; the lenses provide a new filter giving a fresh perspective onto the world that we live in transforming the wearer not only in appearance but in mind frame as well."


(via yagazieemezi)

Nigerian photographer August Udoh captures the competitors of Dambe. Since the 1950s, Nigerian boxers have held their own in international boxing competition. Dambe is a Hausa martial sport that used to take place at the village level. Matches were held on festival occasions, and the art was the special province of members of the butchers’ guild. 

Dambe uses only one hand to strike, while the “weaker” hand is extended toward the opponent and used to ward off blows.  Dambe competitions are held between groups who meet in dueling pairs on a symbolic battlefield, and the metaphor of warfare is apparent in the continuing use of the term “killing” to signify the strike that leads to winning a match.

Website / Facebook / Twitter 

Dedicated to the Cultural Preservation of the African Aesthetic

I wanna meet you one day, that would be amazing:)
yagazieemezi yagazieemezi Said:

You never know!!!

Rites of Passage:

The November issue of Vogue India spotlights wedding style in this shoot photographed by Signe Vilstrup of Tomorrow Management. Models Kelly Gale, Gita Gale, Manu Bohra, Mariette Valsan, Nidhi Suni, Natalia Rassa, Anirudh Singh Kanecha, Chander Shekhar Bissa, Raghunath Singh Aaktali and Goverdhan Pareekh take on the role of the wedding party in traditional looks fit for an extravagant affair. 


Women in Africa and the Diaspora: “You Can’t Sit with Us”

“Womanism is counterproductive to the feminist movement.”

“Why must black women separate themselves and have their own movement?”

“It doesn’t matter if you are black or white. Aren’t we all women?”

Imagine a high school cafeteria.  The “nerds” have their own table, the emo/gothic kids have their own table, the artsy kids have their own table, the cheerleaders and athletes have their own table and so on. You may even see some students separated by race, ethnic backgrounds, sexuality and religions. The Black American table, the African table, the white table, the Latino table, the Muslim students table and the students who are in the LGBTQIA community. If you were to ask a student from each group to explain their high school experience, you will most likely get contrasting answers. Of course there are similar struggles they face because they are all students around the same age, but due to their identity(ies) their types of struggles will greatly differ. You cannot use the anecdote of a white heterosexual student to determine the experience of a minority LGBTQIA student.

It’s the same with Feminism and Womanism.

continue reading