Arts + Culture
Self-portrait. Photo by Stephanie Nnamani, courtesy of the artist.

NextGen: Teff Theory on How the Use of Color Leads Her Home

An in-depth conversation with the Nigerian visual artist on her thoughtful creative process, influences and more.

This week, we'll be publishing short profiles, essays and interviews on the theme of "Afrofutures." Together these stories will be a deep dive into the way African and diaspora thinkers, technologists and artists view a future for Africans in the world and outside of it.

Take a look at our introduction to Afrofuturism here.

We'll highlight and celebrate young, leading talents who already put into practice what a future with black people look like through their work in the return of our profile series, 'NextGen.'

Stephanie Nnamani, also known as Teff Theory, is the Nigerian visual artist, essayist, photographer and self-portraitist whose art is comprised of a distinct use of color. Hailing from Enugu, the creative's work serves as a form of spirituality and dissection of identity, culture, personal development and self-expression.

Her gaze is that of an individual going through life's hurdles as a black woman, a first-generation immigrant and a surveyor of life's many color palettes. Check out our talk with her below.


This interview has been edited for length and clarity.

Audrey Lang for OkayAfrica: Tell me about the name Teff Theory—where does it comes from?

Stephanie Nnamani: My nickname comes from my name, Stephanie, and it evolved over the years—reflecting on my growth not only as an artist, but also as an individual. I just recently changed it to Teff Theory because I felt like it was something that offered me a space to really explore my works. 'Theory' came from my background in social science and it's my way of expanding on how I like to explore certain concepts. People like to say art is separate from science, but they really cross with each other—at least in my experience it's been so—and I like to communicate that in my use of colors and lines of repetition and shapes.

What is your creative process?

I tend to write something in terms of an essay and poetry and it ends up translating itself in my photography or in my graphics—it's never really intentional. I look at a picture and I'm like holy shit, the colors really look like the same colors that are captured here. That wasn't even intentional. So I noticed that synchronicity was happening within my work to the point that now it's very much intentional.

I try to create work that is communal. One piece like a photo communicates to the next photo and you can't really consume one photo without looking at the next one. I really believe it's like a network.

Do you spend a lot of time producing work?

I once secured my school's greenhouse and was in there from 8:00 a.m. until my class at 5:00 p.m. I still can't quite part with creating work that only makes sense to me. There is an unspoken sort of pressure to actually work for a larger audience. Much of my work is not published. I just sit and look at it. I'm sitting on at least 10 unpublished works and I really like to take my time. I value taking my time both for the process and with just sharing it with anyone basically.

Photo by Stephanie Nnamani, courtesy of the artist.

Do you create art full-time?

I work in research as a data collector. I'm always working—always watching people. Even though I'm more of a homebody; it's always interesting to watch how people respond to things, especially since my primary interest is with media and personality.

Can you tell me about the woman behind behind the art?

We moved to the United States when I was young and before that we moved to London. I guess the older I get, the more obvious that aspect of my identity is apparent. Being a first-generation immigrant is very much the chief aspect of my work and examining the nuances of what that reveals about my self, my purpose, and my work. I'm the youngest girl in my family and I also come from a family of six. Because I am a first-generation immigrant, my immigration status in this country has been ambiguous for much of my stay here. So a lot of the work that I did, I didn't want to connect to my name until there was some certainty connected to my status here in this country.

We are at the helm of an age in which women are empowered and in which black people are empowered. I wanted to ask you what you think the term Afrofuturism means or what it means to you. If by chance, do you feel like you're part of that terminology or that realm of art?

It is almost as if for an African artist to be received largely, their art has to align with ancestral aesthetics and I wholeheartedly support that, while also elevating the idea that there should be a more vast concept of what constitutes African art. The concept of Afrofuturism is not one I've considered in depth to put forth a cohesive definition of what it means to me. I think there are creatives like Lina Viktor and Trevor Stuurman whose work serves the African identity and is what I would suppose is Afrofuturism. Afrofuturism pays homage to Africa and entertains it in the present not just the future.

Photo by Stephanie Nnamani, courtesy of the artist.

What are the most notable companies you've collaborated with?

Getty Images would be the most profound that I can name. I am a creative contributor for them. They picked up one of my recent projects that I did last year. It was widely received and they invited me to speak on a panel in London a few months ago. I'm currently working on a project for them that I can not speak on right now.

Your work is said to convey women's empowerment, as well as concepts of identity, culture, personal development and self-expression. Is there anything else?

You might have hit it all. A certain part of my work that I want to communicate is that it tries to reach individuals who share a similar narrative as me, whether they're first or second or third generation, who return home, the way in which they embrace home and the challenges that they face in terms of language barriers or simply not knowing how to re-immerse or establish intimacy. I throw it in there as often as possible for anyone else struggling with that to know that you know they're not alone and that it is quite a process—I really try to communicate the concept of absence and presence and otherness.

What does color mean to you?

When I was younger, my mother liked to dress me in red. When my dad would travel and he would come back, all my outfits were either red, orange, or red orange. I never thought about until a recent interview. That's when it occurred to me that that was my introduction to color as a subject, color as a means to expand expression, color as a means to communicate identity. Color has always been a thing, with my mom extending this to me, and I retained that. It repeats itself without me trying. My work has been very much committed to expounding on how color has essentially brought me home.

Audrey Lang is an alumna of Northeastern University and a Boston-based site merchandiser. A surveyor of life who's enamored with all things fashion, art and Africa, keep up with her on Instagram and Tumblr.

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Image courtesy of 'The Spread'

'The Spread' Is the Sex-Positive Kenyan Podcast Offering a Safe Space for Women and LGBTQIA+ Issues

'The Spread' is the podcast dedicated to "decolonizing" the way Africans talk about sex and sexuality, say it's creator Karen Kaz Lucas.

Karen Kaz Lucas is the revolutionary brainchild behind Africa's best-known sex positive podcast, The Spread. Three years in, the 52 podcast episodes, covering a range of diverse topics including: The Male-Female Pleasure Gap, Sex positive parenting, LGBTQIA+ issues, Kink, Reproductive Rights, and Porn vs. Reality, has listeners ranging from 6,000 to 21,000 and episode on SoundCloud.

Recently, The Spread had its first major event TheSpreadFest, a day-long event attracting over 600 people with diverse panels, workshops and more. It's been hailed as a truly safe and inclusive space for people of all sexual identities. Okayafrica contributor, Ciku Kimeria speaks to The Spread creator Kaz on her journey to decolonize sexuality, her motivation, and her hopes for the continent relating to matters of sex and sexuality.

Read the conversation below.

Karen Kaz LucasImage courtesy of 'The Spread'

What made you start The Spread podcast?

It was to address the key gaps in discussions around sex and sexuality and to create a safe space to discuss them. Younger people were either learning about sex from porn or on the flip side from a religious standpoint or the education system, where the focus is on the risks of engaging in sex (teen pregnancy, STIs etc). As such they were either getting information from a fear-based system, shame-based system or porn that has very little to do with real life sexual situations and intimacy. I wanted to create a safe space where people could talk about all issues related to sexuality but in an open, accepting and enlightening way. For me, this is an informal form of sex education that allows people to explore their sexuality from an unbiased perspective—no judgement, no shaming.

What's the reception been like so far?

The reception has been overwhelmingly positive. I had no idea that the podcast would grow and be as successful as it is now. People are hungry to meet similar people and have discussions without judgement. Of course, there are also people who react negatively to my work and say that this is a result of "Western influence." To those people, I say that they should know that the majority of my work is focused on decolonizing sexuality.

Great transition. I first saw the term "decolonizing sexuality" in your Instagram bio. What exactly does that mean?

Prior to Western intrusion, we already had our own sexual culture. I'm trying to remind people that certain things we embrace as "African" and defend when it comes to sex and sexuality, are elements that came to us through religion, Westernized education etc. The shame associated with sex and sexuality on the continent are remnants of Western teachings.

Prior to colonization many ethnic groups had religious healers who were neither considered male nor female but were gender fluid or intersex. There were ethnic groups that didn't base gender on anatomy but on energy. Gender fluidity on the continent was observed even more than you would find in the most liberal country right now. For some, you could physically have male features but possess female energy and live as a woman. Some people worshipped androgynous or intersex deities and believed that the perfect human being is both male and female. Certain tribes did not ascribe a gender to anyone until the age of puberty. In other communities, their priests were transgender, and they were the only ones who could conduct certain spiritual ceremonies. There is evidence that for several ethnic groups gay and lesbian relationships were not taboo. Unfortunately, a lot of this history has not been publicized or it is being revised as it does not fit in well with the idea that the continent is trying to now uphold as a patriarchal, heteronormative society. That is why the work of decolonizing sexuality is extremely important as we now have a generation that is open to questioning themselves. The generation of our parents lived in a time of oppressed and suppressed sexuality (among other things) as they themselves or their parents had suffered the colonial rape and pillage [both literally and metaphorically] of their lives. All they could carry was anger and fear. To survive they had to conform to what the oppressor enforced on them through religion, western education etc.

[Recently deceased] Kenyan writer and gay activist, Binyavanga Wainaina clearly outlines how it is only former British colonies that have anti-sodomy laws, which came during colonial times from the fear that British soldiers and colonial administrators would be corrupted by the natives while they were away from their wives. The law, the fears by the British government at the time, really are proof that some of the natives were already practicing sodomy.

Image courtesy of 'The Spread'

What for you is the link between sex positive work and women's empowerment?

The average person might think that the type of work I'm doing is frivolous, but the reality is that when a society believes they have any right over women's bodies, we see all the terrible things that happen to women: rape, rampant femicide, violence against women and more. Reclaiming your sexuality as a woman is about asserting your own authority over your body—declaring the right to fulfilling, consensual sex of your own liking, the right to having children, or not having children if you don't want to, postponing or terminating a pregnancy. Once we accept the policing of women's bodies, it's a slippery slope.

Feminism is about women having equal rights and opportunities as men, and that also extends to their sex lives. My body, my choice. For those who are always ready to bash feminism, seeing it as women somehow trying to take over, dominate men, oppress men etc. They should realize that the only reason feminism exists, is because we live in a patriarchal world. Women are at the bottom of the rung, oppressed in thousands of ways. All we are trying to do, is get the same rights that men take for granted. Of course, to the ones who hold power, it will feel like a loss of power.

This is the reason why the topics we cover span everything from women's sexual pleasure to gender-based violence to LGBTQIA+ rights to women's reproductive health. All these discussions must happen in tandem.

Let's talk about the state of affairs in Kenya around various key issues, starting with female reproductive rights.

I'm working very closely with two organizations working on women's reproductive rights and abortion rights. The problem in Kenya is that there is so much misinformation. I plan to release a video very soon on the topic. I only recently found out all public hospitals in Kenya provide post-abortal care. Even though, abortions are illegal except in certain circumstances, post-abortal care is available throughout the country. Lack of information makes women especially vulnerable to the influence of quacks, back-alley doctors, or police who threaten them with imprisonment if they don't pay exorbitant bribes. The Kenyan law is that you are not allowed to administer an abortion unless the health of the mother or child is in danger. Health also includes mental health. As such, people with severe depression or suicidal thoughts do legally qualify for abortions, but most people don't know this.

Image courtesy of 'The Spread'

What about on the issue of sexual violence against women and children?

Sexual violence against women and children isn't taken as seriously as it should be. Sensitivity training across police stations is still lacking. Rape is extremely underreported in the country as most people don't expect to be treated with discretion, sensitivity or any consideration once they do get into the system. I did a whole video series years back interviewing female rape survivors and their experiences highlight the challenges with our police system including the trivialization of the crime by police officers who consider rape almost routine, given how often this happens. The statistics are masking the issue, rape survivors don't know who to turn to and feel completely isolated. The issues of male sexual violence against men isn't even spoken about as the survivors fear further shunning and stigmatization from society. Kenya doesn't yet have the right structures—including mental health structures—to deal with the normalization of rape and sexual violence against women.

In 2015 three men gangraped a teenage girl as she was on her way home from her grandfather's funeral. After the attack, they dumped her in an open sewer, leaving her with a spinal injury that has confined her to a wheelchair. When the men were taken to the police station, their punishment was to cut the grass around the police station. The incident made it to the news, sparking international outrage, resulting in a signed petition and leading to protests in the country demanding #justiceforliz. As a result, the men were eventually sentenced to 15 years in prison. While we can celebrate this particular win, it also makes us reflect on all the other hundreds of thousands of cases, where the survivors remain silent or seek justice, but never get it.

What about LGBTQIA+ rights?

The definition I adhere to for this group is actually a longer, more confusing acronym, but also one I hope makes more people feel included. LGBTQQIAPPK, which is lesbian, gay, bisexual, transsexual & transgender, queer, questioning, intersex, asexual, polyamourous, pansexual and kink.

We have some cause for celebration, but also a very long way to go. We were hopeful recently when the High Court reviewed the key law banning gay sex, but unfortunately, they chose to uphold it. Last year, we did have a small win when the courts deemed unlawful the use of forced anal exams to test whether two men had sex.

The National Gay and Lesbian Human Rights commission of Kenya are doing a really great job in trying to get colonial era penal codes repealed. They are the legal team behind the court cases for the repeal of these laws. From a legal standpoint it's great, but from a social standpoint, it's still so sad that our binary understanding of gender is tied to what the colonizers forced on us. The worst argument is when people say that any deviation from the heteronormative narrative is "un-African." My question then is "Do you really know your history? Are you willing to educate yourself and to take off the yoke of colonialism and even consider the idea that what you consider normal is based on systems that came to you through oppression and repression?

For a country that is so progressive in many ways, this particular issue still remains an uphill battle.

Image courtesy of 'The Spread'

What about women's sexuality, sexual pleasure?

All the events we have are 95% women. Men are scared to admit they might not know it all. Society paints them to be macho and [makes them think] that they should somehow know it all, but they are scared to learn about their sexuality as they feel that it will take away from their masculinity. For women, it's empowering. Men are frightened about women learning and embracing their sexuality.

I want to be a part of this revolution, spearheading it on the continent.

Finally, tell us about The Spread Fest and your plans for it?

Our objective for the festival is to foster learning, inspiration and wonder—and to spark conversations that matter. The aim is to be more empathetic about our diversity, but also to leave people knowing more about sex and sexuality. This year we had 600 people in attendance, 5 panels, one workshop and it was a full day event. Next year, we plan to double everything.

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Photos by Getty Images for BET.

Africa at the BET Awards 2019: Dispatches from the Blue Carpet

We talked to Burna Boy, AKA, DJ Cuppy and more about representing their people and remembering Nipsey Hussle.

We were at the 19th annual BET Awards this past Sunday to check out the ceremonies and chat up the international artists walking the blue carpet.

BET is the world's biggest platform for Black music and it has officially gone global. If you've never been, there's a feeling of organized chaos in the air that makes you feel like you're a part of something big. Artists from Africa and the diaspora have come a long way at the award show—once relegated to a non-televised role, the "Best International Act" award is now part of the 3-hour televised main ceremony for the second year.

This year the nominees contained many of OkayAfrica's favorites, including this year's winner, Burna Boywhose award was accepted by his mom, with a message of connectedness to the continent: "Remember you were Africans before you became anything else."

READ: The Internet Doesn't Know Mama Burna At All

Held at the Microsoft Theater in downtown Los Angeles, the BET Awards hosted over 30 artists from the African continent. We caught up with many of them on the blue carpet including AKA, DJ Cuppy, Mr Eazi, Nomzamo Mbatha and Monalonga Shozi just to name a few. Under the June heat, African performers, presenters and nominees came to show out.

One of the big themes of the night was honoring slain Eritrean-American hip hop star Nipsey Hussle's life and legacy.

Burna Boy and Stefflon Don at the 2019 BET Awards. Photo by Getty Images for BET.

When we asked him about it on the blue carpet, Burna Boy—dressed in an elegant Dolce and Gabbana two piece ensemble in emerald green and golden overtones—says:

"You never stop wanting to hear the work of black artists do you? After Nipsey's death, it was both an inspiration and a wake up call. This is the time to spread positivity and love because you never know man, you could be gone tomorrow. He left behind a great legacy and we're just going to carry it forward."

"Nipsey's death was really felt all over Africa," South African personality Mbatha tells us. Dressed in an original full floor length A-line dress made by South African designer Loin Cloth & Ashes, she remembers, "It wasn't just that he was an African, which he was, but he showed us that we still have flames in our community that we hope will never burn out. Thank God that flames like Nelson Mandela lived for as long as it has, because each generation picked up that flame and was able to believe we can make it out and when we do make it out, we can fight to make other people's lives better."

Nomzamo Mbatha at the 2019 BET Awards 2019. Photo by Getty Images for BET.

AKA at the 2019 BET Awards. Photo by Getty Images for BET.

South African rap superstar AKA tells us just before the opening to the ceremony, "With me coming from South Africa, BET is all about black excellence and of course Black excellence is all about Africa. Everybody is on a wave right now recognizing the importance of African culture and the importance of where it comes from. Africa is the source of Black excellence."

The Nigerian Afro-fusion star Mr Eazi, another Best International Act nominee also met up with us outside. "As long as music is being made by Black people, African people will never stop being brilliant," he told us. "Most of the people from Africa that come to the BET Awards, about a good 60 percent come from Nigeria. I feel like this needs to be a Nigerian awards show. Maybe next year we'll just buy it up and make it a Nigerian show."

Mr Eazi at the 2019 BET Awards. Photo by Getty Images for BET.

DJ Cuppy at the 2019 BET Awards. Photo by Getty Images for BET.

Nomalanga Shozi at the 2019 BET Awards. Photo by Getty Images for BET

Another big Nigerian name, DJ Cuppy, acted as a blue carpet host. "When I travel around the world," she says, "I feel like people are more invested in their roots. People are more engaged with where they come from and where they families come from and they're interested in learning about other cultures like never before."

"I'm all about taking Africa to the world but it think its just as important to bring the world back to Africa," Cuppy continues. "It's important that we're stressing connecting and do what we can to keep a strong community and making sure people know that we're all in this together."

TV personality and actress, Nomalanga Shozi tells us, "You have to recognize yourself as who you are. Honor yourself first then you can project that to the world. I think it's very important for us to honor ourselves and the BET Awards does that is such a grand fashion every year."

In the BET International section of the blue carpet, Nigeria-native Alex Okosi, the head of BET International shared a final thought on the important of awards shows. "It's a platform to elevate our people," he says. "Being able to showcase to the world our true power which is the power of Black culture is as important now then ever before."

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Seba Kaapstad Is the Genre-Bending South African Jazz Band Spreading a Message of Optimism

We speak to two of the quartet's members about their latest album 'Thina.'

This profile is part of OkayAfrica's ongoing series on South Africa's new wave of young artists shaping the future of the country's music scene. You can read more profiles and interviews here.

Thina, Seba Kaapstad's sophomore album, is an anomalous body of work that smudges the lines between genres effortlessly. It's a huge departure from the South African four-member jazz group's debut album, 2016's Tagore's. "We are people that are genuinely interested in music and the impact that music has, and we are people that love to experiment and explore," says group member Zoë Modiga. "With Pheel (the group's newest member) hopping onto the band for production, it created so much more color than there was before."

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