Yagazie Emezi


Cultural Anthropologist & Africanist

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

Kehinde Wiley: An Economy of Grace

New York–based artist Kehinde Wiley rose to fame creating portraits of men, starting exclusively with African Americans and following with men from China, Dakar, Lagos, Brazil, India, Sri Lanka and Israel. Now, Wiley turns to African American women in his new body of work, An Economy of Grace, while continuing his explorations of patronage and art history. In this world-premiere screening, director Jeff Dupre documents the process as Wiley finds models in passersby in New York City, contextualizing them in poses based on those typical of 18th- and 19th-century paintings, and partnering with fashion house Givenchy to create haute-couture gowns for the portraits. Kehinde Wiley: An Economy of Grace is a captivating exploration of fashion and culture.

World Premiere: 
February 19, 2014 at the Reel Artists Film Festival

For details and ticketing info visit canadianart.ca/raff

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Dedicated to the Cultural Preservation of the African Aesthetic

The Kivus: Goma Airport

At Goma Airport, in the Democratic Republic of Congo, planes left due to wars and volcanic eruptions over the past two decades have become a playground for street children, some of whom sell the parts which are made into stoves and other items to be sold on the streets of Goma. 

One is generally prohibited from photographing this airport but in mid-December, 2012, after the M23 rebel force which occupied Goma left and before the FARDC (military of the D.R.C.) returned to the city, a security vacuum meant that nobody was guarding this section of the airport. Children guided me through the planes, which were later discussed by my Congolese fixer:

The volcano (Nyiragongo, just outside Goma) exploded and the lava blocked the planes. I helped move this plane after I and many of my friends living near the airport lost our homes to lava, on the first day of the eruption. On the second day, we saw the lava moving towards the planes. I and others were just watching the lava flow getting closer to the planes and we decided to move one of them, this newer one. There were at least a hundred people there pushing the plane for about 300 meters. A friend mine, who was there and whose house was also destroyed, had a childhood dream to be a pilot. But his parents were too poor and all the schools were expensive, so he could not hold onto that dream. He forgot about it, but then on that day, when we needed to move the plane, he told me to help him inside so he might steer it! We all pushed the plane as my friend waved his arm out the window, in the cockpit. We then climbed in the plane and saw the lava flowing down the volcano and into town

Michael Christopher Brown

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Dedicated to the Cultural Preservation of the African Aesthetic


"u missed di schoo bus eh?"

"yes fadda"

"find a wey ti schoo den"

(via africanmemes)

Asker iwakeupblack Asks:
you are hilarious ... omg I so enjoy reading and listening you!
yagazieemezi yagazieemezi Said:

Thank you, hun!!! <3 <3 !!


Mehdi Sefrioui | Handing a Pink Slip to Fashion’s Black List

Moroccan photographer Mehdi Sefrioui debuts his photographic fashion editorial on Another Africa celebrating the black body, black men and mens’ fashion. A homage to his another Africa, where equality, beauty and agency co-exist. View more images on anotherafrica.net .

Source | anotherafrica.net

All images courtesy of the artist. All rights reserved.

(via streetetiquette)


I also clearly have a problem pronouncing ‘orgasm’!

Finally got around to finishing the video relating to a past experience, had to tie my hair up for this one! As mentioned in the video, the overall goal is to get young African women more comfortable around the conversation of sex. And comfortable enough to discuss it among their peers and educate themselves.

(via yagazieemezi)



(I don’t have a valentine so I have to redirect all that energy somewhere, so you’re welcome.)




All my friends are so talented and beautiful, like ugh. 

My close friends and family members know that at some point in my life, I’m going to go completely off the grind.

I’m going to disappear for several months or years. I’ve had this feeling for as long as I can remember; I’m going to get tired of everything and everyone I know and I’m just going to get up and leave. Most people get this feeling, too. But I know I’m going to actually act on it.

I’ll probably end up living alone in some tiny fishing village in Indonesia or something lol. My family and friends already know that once that happens, I’m okay and probably very happy.


Siji’s forthcoming album “Home Grown” is currently scheduled for release in spring of 2014. Two and a half years in the making, the epk goes behind the scenes to chronicle the concept behind the record and the personal journey that inspired it’s making.

The second born of twelve children to Nigerian émigrés in London, Siji spent much of his early childhood in Lagos and London before coming to the US to further pursue his musical ambitions. His own cultural heritage combined with the political and social movements of the age, exposed young Siji to the insurgent, politicized music of the Afrobeat legends Fela Kuti, King Sunny Ade, Tony Allen as well as the soulful grooves of Marvin Gaye, Al Green, and Otis Redding. His parents, in particular, his father, loved music, but like most children of hardworking immigrants, Siji was urged by them to pursue a career in the professional fields of medicine or law. But the lure of the music was too strong. In the nineties, when London was bursting at the seams with new music and groups like Loose Ends, Soul II Soul, and D-Influence dominated the scene, Siji’s attention was captured and he began to follow his passion for making and recording his own music.


[Hana] When I first came across Jamilla Okubo's work, I felt an instant joy. Bright, colourful and bold with the use of African prints, her pieces offer both a celebration and a reclamation of black bodies. Today Jamilla tells us more about what inspires her and the stories she wants to tell through her prints and illustrations. 

1.Tell us a little about your work?

I really enjoy working with an array of mediums such as painting, digital/hand-painted prints, garments, and collaging. Color is definitely a key element in my work as well as prints. My work mainly focuses on subjects of the Diaspora because I just love the beauty within our culture and people. I just feel as though it is my duty to remind people of color that we have such a rich culture, and that we should love ourselves and one another. So I strive for my work to have a balance of conceptuality and beauty. These are two quotes that I live by when it comes to creating artwork:

"The role of the artist is exactly the same as the role of the lover. If i love you, I have to make you conscious of the things you don’t see."- James Baldwin

"The black artist is dangerous. Black art controls the “Negro’s” reality, negates negative influences, and creates positive images.”- Sonia Sanchez

2. What inspires you and what is your process?

I am heavily inspired by my background culture and experiences in life. My work is heavily fired by my emotions as well. Whether I am passionate or really angry about something, I use those feelings as an advantage to create from the heart and express myself. I am also inspired by other cultures. Being able to interact with people from all over the world and experience other cultures is a blessing.

Depending on the project that I am working on, I may gather inspiration photos from the internet or books, and create a moodboard (it’s a habit that I got from school, specifically fashion). Majority of the time I will randomly get inspired, whether it is from a movie or an incident that I saw on the news, I immediately start creating. I have a very odd way of working because, a lot of people always tell me “you work so much”, “you’re always creating something”, or “how do you have so much time to create?” Honestly I don’t!. When an idea sparks I immediately stop whatever I am doing and create what I envisioned at that moment.

3. Textile prints seem to play a key part in your prints and illustrations. What does this mean to you and is it telling of your own journey?

While attending Duke Ellington School of the Arts I was to create a 15-painting themed series for my senior year. As I found myself searching for inspiration I came across Africa Fashion Week NY for the first time. The textiles, beautiful african models, and vibrant expression of a culture I had been long disconnected from - struck a chord in me. From this I began my wandering - an earnest exploration of my history and ancestors. Blessed by a teacher by the name of Stanley Squirewell, seeing the fire in me as a young person, introduced me to a host of artists that continue to inspire me today: Mickalene Thomas, Kara Walker, Wangenchi Mutu, Hank Willis Thomas, etc. I played with how to take these narratives of blackness and interpret them through my work, my craft.

4. As a designer, what does the body mean to you?

As a designer, the body is an external way to express oneself. Also, being able to interpret and express your inner self through clothing and accessories is a wonderful thing. It gives all people the opportunity to treat their body as a canvas and not have to worry about others perceptions or opinions. The body provides a landscape on which my aesthetic inevitable conclusions come to life.

5. What can we look out for in 2014?

Well hopefully if all goes as planned, I am working on having my second solo art show in June. But as of now I am focusing on school, so you will of course see what I am working on throughout the semester. I always find a way to link my school projects with my own work. I cannot speak of all that I am planning on doing because I don’t want to jinx myself. Just know that I am always working on something!

Aspiring Textile designer, Jamilla Okubo, is an 20-year old African-American/Kenyan native from Washington, D.C. She is currently studying Integrated Fashion Design at Parsons the New School for Design. Jamilla’s prints invoke a life and sophistication in them. Constantly utilizing the vibrancies of African textiles to her advantage with color ways that would put a smile to both the viewer and wearer. Where her work gains depth lays in the subject matter of the prints. The prints, fun as they may be, acknowledge a deeper struggle which is rooted in black culture. She acknowledges the history, but similar to an upbeat song about heartbreak decides to shine a different light on the situation by claiming the story back for herself.

Follow her on: 
Blog: www.vivaillajams.tumblr.com 
Portfolio Site: www.jamillaokubo.com 
Shop: www.society6.com/jamillaokubo

(via Anna Margareth Abdallah: ‘They say, “Don’t vote for the woman, she wears lipstick”’ | Politics | The Observer)

When Anna Margareth Abdallah entered the Tanzanian parliament in 1975, she was one of only five female MPs. Today, she is one of 126 – more than a third of the total – and the first woman to chair the standing committee on defence and security. But it has been a long journey that is far from complete.
“It’s quite hard, especially because of African traditional culture where a woman’s place is in the kitchen,” she says.
"Women have a tough time contesting elections and they have to show exemplary proficiency to get recognised. They work hard to be extra diligent. But we are trying and we have been doing it for the last 50 years. At least now women are recognised."
Now 73 and a great-grandmother, Abdallah began her political career as a provincial governor and had to juggle work with a young family.
“I was travelling with my youngest children; sometimes they wanted just to know what their mother was doing so they would come with me. When I came back, they would tell the whole family – and everybody was interested – and they encouraged me through. Because we wanted to show that women can do it, it took a lot of sacrifices.”
She had to challenge the expectations of a patriarchal culture each step of the way.
"People were not used to seeing women in public meetings talking just like male politicians do. They realised that women can talk back."
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Dedicated to the Cultural Preservation of the African Aesthetic




For Every F*cking Occasion (FEFO) by Yagazie Emezi is a collection of greeting cards and postcards targeted at the unconventional card giver. Each design is hand drawn and based off Yagazie’s popular personal cartoons. 

So if you’re looking for cards that say everything you didn’t know you always wanted to say and now you want to say them, they’re here.

Omg want lol

(via gallifreyglo)

Lupita Nyong’o, From Unknown to “It” Girl in Less Than a Year


It was well into the audition process for 12 Years a Slave when Steve McQueen began to despair. He’d seen over a thousand actors for the role of the long-­suffering Patsey, and no one quite had the “majestic grace” he thought the part required. By the time he watched the tape sent in by an unknown Kenyan actress named Lupita Nyong’o, he’d started to question his own judgment—“I just kind of rubbed my eyes in disbelief and needed someone else to confirm what I was seeing.” McQueen showed the audition to his 14-year-old daughter.

Her response: “Wow. Who is she?”

(read more)

Artist Statement

Through our dreams, we make contact with a vast, yet elusive side of ourselves. My work utilizes and reflects converging objects found in nature, such as accumulation of flora and fauna. Drawing inspiration from nature’s paradoxical beauty, I aim to create work that not only stands out for its regal impact but also for its sensitivity. My inspiration comes from an ongoing interest and profound respect for indigenous tribal cultures of the Amazon, Aboriginal natives of Australia and the Yoruba tribe of West Africa. I am fascinated with garments and textiles of Native Americans and Afro-futurism. With this vocabulary of indigenous art, along with my personal dreams, I make whimsical forms resulting in a diary of my personal mythology.