News Brief

This Historical South African Museum is Fighting to Change the Apartheid-Era Name of its Neighborhood

The District Six Museum is campaigning for the residential area of Zonnebloem to be renamed back to District Six.

District Six was an area in South Africa's Western Cape province during Apartheid. In 1966, Black people were forcibly removed from there and the then Whites-only area renamed to Zonnebloem.

The District Six Museum, which continues to document the lives and lived experiences of those who were removed, has restarted their campaign for the Cape Town suburb of Zonnebloem to be rightfully renamed back to District Six, according to IOL.


During Apartheid, South Africa had laws which dictated where Black people were not allowed to live—usually anywhere where White people lived. Every so often, however, White people decided that they wanted to live where Black people lived and so they simply had the government uproot Black people from their homes and move them elsewhere. These forced removals happened all over the country.

Bonita Bennett, the director of the museum, spoke about the campaign saying, "This campaign started a few years ago. We first discussed the heritage of District Six and then there were other elements that we considered, and we decided to start the campaign again."

Over the decades, District Six became the subject of many theatrical productions and songs. The late South African jazz veteran, Hugh Masekela, released the song "District Six" which was released back in 2007.

Listen to it below:

District Sixwww.youtube.com

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Photo by Oupa Bopape/Gallo Images via Getty Images

8 Queer-Owned African Fashion Brands to Check Out For Pride

In honor of pride month, we highlight eight African queer fashion designers and brands putting queer stories on the global map through fashion.

In the last decade, there have been an emergent of fashion designers who aren’t just queer but have aligned their fashion vision with their identity, creating demystifying collections and criss-crossing their concepts and ideologies to represent the inscape of non-conformity, fluidity, queerness and androgyny — whilst maintaining a quick balance with their cultural roots. Despite the numerous fabric experimentations and collections, these designers never forget to tell stories that align with them, especially those that resonate with queer people in queer unfriendly countries.

In honor of pride month, OkayAfrica highlights 8 African queer fashion designers and brands putting queer stories on the global map through fashion.

Rich Mnisi

South African designer Rich Mnisi is part of a new wave of designers putting African stories on the global map. Founded in 2015, the brand Rich Mnisi is immersed at offering fluid expression to gender, celebrating youthful excellence and exploring extremist design elements with minimalist cultural tailoring. For pride month, the brand released a limited edition capsule titled “Out." The capsule visualizes a fine-line between elegance and fluidity whilst boldly emphasizing on the act of struggle and resilience as an outfit.

Udiahgebi

For a fashion brand like Udiahgebi, identity is very important. And offering that form of visibility to femme queer Nigerians is not just a form of visual activism but a detailed story of essence. The brand was founded by Emerie Udiahgebi, a gender non-forming fashion designer who wanted to give queer, non-binary and non-conforming individuals more options to express themselves fashionably. Udiahgebi’s fashion concept is extremely bold, fierce, and unconventional.

Lagos Space Programme

Designer Adeju Thompson fuses traditionalist concepts with genderless possibilities. Founded in 2018, Lagos Space Programme is a gender-neutral fashion brand that enveloped aesthetic designs using local craftsmanship. The brand appreciates West African unique fabric and communicates compelling stories of identity, gender and queerness — a ideology that has garnered them not just audience but earned them a spot at the LVMH prize.

Muyishime

Patrick Muyishime is a fashion innovator. Not only does he know how to source excellent fabrics but his designs are authentically vibrant. Founded in 2016, Muyishime is a Kenyan fashion label that introduces conversations surrounding androgynous and explores aesthetically fabric inventions that commands fluidity, feminine wiles and constructive elegance.

Bola Yahaya

Founded in 2019, Bola Taofeek Yahaya's fashion label aligns thought provoking pieces that elevate the discusses around queer representation, sexuality and feminity. The brands merges sustainability and explore eccentric fabric experimentations.

Nao Serati

Founded by South African designer Nao Serati Mofammere in 2014, the fashion brand Nao Serati explores the versatility of gender and the fine margin of sexuality whilst finding its balance with their South African heritage. Mofammere wants his brand to explore masculinity and the different ways it takes to wear a fragile look.

Vangei

Lolu Vangei has different recipes to gender fluidity and she has used fashion to express that. Founded in 2018, Vangei is a fashion label that unites modern ideology of afro-centricism to produce pieces that dismantle cliched ideas about gender.

Mayetobs

There is no explaining the sort of talent Emmanuel Tobiloba possesses. Founded in 2020, Mayetobs' eccentric approach in reinstating androgynous norms is interesting. From oversized pants that speaks of fabric maximalism to fast flowing robes, the fashion brand is an ode to redefining modern masculinity.

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Photo Credit: Screengrab from Ìfé

The 10 Best African LGBTQ+ Films to Watch This Pride Month

From lesbian love stories to documentaries about South African queer love, here is a list of LGBTQ+ films to watch for Pride month.

Historically, LGBTQ+ films have never been in the mainstream in countries around Africa, mainly because of the intolerance of the various film industries around the continent.

However, over the past decade, there has been progress, with significant representation of LGBTQ+ people on screen. These examples come mostly from independent filmmakers within several countries in the continent. But it hasn't been easy. Throughout Africa, there have been laws that not only ban these films but put a jail term that punishes the filmmakers who have put efforts to produce a nuance story of the lived experiences of queer people in films.

To celebrate the efforts of these filmmakers and to acknowledge these thought provoking stories that are inspired from the realities of LGBTQ+ individuals, OkayAfrica put in a list on the 10 LGBTQ+ films to watch for Pride month.

Braids on a Bald Head (2010)

Braids on a Bald Head is an award-winning Nigerian film directed by Isahaya Bako. It tells the story of a submissive wife who does everything for her husband. But having a new neighbor, who is much different from her, begins to change her perception. When things in her marriage get sour, she finds the strength to ask for better treatment after an experience that makes her question her sexuality.

Difficult Love (2010)

Zanele Muholi’s power as an artist and activist is beyond this planet. Difficult Love introduces us to Muholi’s life, while capturing the lives of several Black lesbians and their lived experiences in South Africa.

Coming out of the Nkuta (2011)

Coming out of the Nkuta tells the tale of a Cameroonian defense attorney who boldly defends arrested queer folks. The heartbreaking documentary speaks about the situation in Cameroon and the LGBTQ community who live in great fear.

Stories of Our Lives (2014)

Created by an art collective in Nairobi called The Nest Collective, Stories of Our Lives details the lived experiences of queer people in Kenya. The movie is an anthology that features five short films.

While You Weren’t Looking (2014)

While You Weren’t Looking aligns queerness with race and speaks on the struggle of queer women in South Africa. Twenty years after apartheid, two lesbian couples who live in Cape Town get separated. While they explore their different lives apart, their adopted daughter gets caught up in her own world, exploring her bi-sexuality. Her dilemma? She isn’t black enough — something her girlfriend helps her navigate.

Reluctantly Queer (2016)

Akosua Adoma Owusu'sReluctantly Queer, an eight minute short film, tells the story of a young Ghanaian man who struggles to keep two personal-contrasting factors balanced: his love for his mother and his sexuality.

The Wound (2017)

Directed by John Trengove, The Wound is a powerful movie that navigates masculinity. The movie is centered around a group of young boys from South Africa who get sent to a rural, remote camp where they will be initiated into manhood, in various ways.

We Don’t Live Here Anymore (2018)

We Don’t Live Here Anymore centers on two teenage boys who are caught in a romantic scandal that turns into tragedy. The film shows the reality of the class divide that exists in Nigeria and the capitalist hypocrisy that is accompanied with it.

Ìfé (2020)

Ìfé is a fascinating film that shows the intimacy between two queer women. The movie uses dialogue to tell the story of two women navigating a homophobic society. Written and directed by Uyaiedu Ike-Etim — and produced by Pamela Adie — the 37- minutes film communicates love and family.

Country Love (2022)

Wapah Ezeigwe's Country love is a story about two men who, after years of being apart, rekindle their love. But everything doesn’t go as planned. In the end, one is wafting for continuity, the other pirouettes away because of societal perception towards queerness. The film is a joyful celebration of the femme identity and communicates themes like departure, homophobia and the frill of belonging.

Interview

The Alluring Distinction of Falz

Falz' contributions to Afropop are masterfully encapsulated on BAHD. We speak to him about his vast scope of sounds on the new album, Nigerian politics and more.

Falz is one of Afropop’s most distinctive figures. His songs have defined several periods of Nigeria’s push into international spaces, formed on the background of rap but possessed with amorphous creativity. With the backdrop of a global pandemic, the 31-year-old musician again found himself staring down the well of reinvention.

Having made appearances across several facets of the entertainment industry, he wanted to move into a new soundscape. He poured that motivation into his fifth studio album BAHD, a collection of twelve songs which show Falz at his most risque and naughty. “To be honest it’s a big mix,” he mentions to OkayAfrica some days after its release. “It’s arguable whether this is actually pop. This can even be looked at as an Afro R&B project, it’s an Afro-fusion project as well. I definitely touched on a few different genres while making BAHD. That was the aim from the beginning: I just wanted to have an album with a vast scope of sounds”.

Each featured guest uniquely broadens his vision. Whether it’s Tiwa Savage on “Beautiful Sunflower” or The Cavemen on “Woman,” there’s a seamless entry into the lush sonics of Falz’s universe. He tells me animatedly that he’s always wanted a song with the iconic Ms. Savage, and already has multiple songs with the Highlife-influenced Cavemen. His curatorial skills are present on “Inside,” combining the unusual duo of Timaya and Boy Spyce to fine effect. Apparently the record was created way before the latter was signed to Mavin Records, pointing towards Falz’s continued inclination for digging deep and leaning into new styles and sounds.

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Photo Credit: Ikechukwu Okonkwo

Korty EO is the YouTuber Documenting Contemporary Culture in Nigeria

Thanks to her confessional-style videos and high-concept shows, Korty EO is one of Nigeria's rising YouTube stars.

There is a stillness in Eniola Olanrewaju’s upscale Yaba, Nigeria flat. It matches the abiding sense of quietness that almost seems to envelop the 24-year-old when she retreats into her world. Eniola, popularly known as Korty EO,is one of the most popular faces in the post-digital creative taxonomy that has swept through Lagos over the last half-decade. In many regards, she is a poster child for the boundlessness that characterizes the grind and hustle of young people in Africa’s most populous city. Over the last four years, she's worked as a graphic designer, writer, content creator, and videographer. Now she is one of Nigeria's brightest YouTube talents, gathering almost 200k followers on YouTube and more than 100k followers on Instagram.

But Korty’s story did not start in Lagos. She grew up in Bodija, Ibadan.

“It was a safe area but my house in Bodija was not around the fanciest sides," Korty said sitting in a rocking chair in her spartan living room last month. "My parents were very protective but that’s because they knew that our environment wasn’t the safest but if you asked me I was proud to say I lived in Bodija because it was a fresh area but I wouldn’t bring you to my house.” Growing up as the middle child in a family of five, Korty was aware of the limitations of her parents and strove to make a way for herself. She started out working as a graphic designer while enrolled in the University of Ibadan after a brief stint at Bowen University. “I saw that there’s a lot I could do and I could even not go to class if I wanted,” she said. “I was just freer and able to do my business.”

Her clarity of purpose meant that she always knew she was going to have to move to Lagos to pursue some of her grander dreams, even if she didn’t know what those dreams were at that moment. An opportunity came in 2018 when a modeling agency scouted her while in Lagos to get a certificate from her IT attachment office. But Korty was reluctant to step into the modeling world. “I said no because I used to think that models were shallow,” she said, half-joking.

Eventually, Korty decided to give modeling a shot. She was grateful for the extra income and the opportunity to explore Lagos’s creative community that her constant visits provided. In the modeling world, Korty was faced with having to navigate a labyrinthine maze of toxic booking agents and haughty designers who treated her poorly. “You can usually tell when someone is not so comfortable in a certain place," she said. "Because I wasn’t comfortable, a lot of stylists did not pick me to walk their shows.”

Mostly observing other models strut their ways on glitzy walkways, Korty started to document their lives in short videos that piqued the interests of her fellow models. Soon after, she joined Zikoko, where she worked as a writer and content creator before convincing her bosses at the time to let her helm a show named HER that was dedicated to showcasing the often-overlooked life of women in Nigeria. In December 2020, after working with Zikoko for close to two years, she left to join Mr. Eazi’s music accelerator program, emPawa, as its head of content. Where Zikoko had a big collaborative culture that emphasized creative cross-pollination, emPawa was more independently structured, giving Korty free rein to pursue projects and create her work in her own image.

It was while handling the YouTube channel of emPawa that Korty began to see the potential of the platform to host the quirky, confessional-style videos that she really wanted to make. “I was always looking at the analytics and understanding how the platform works,” she said. “After a while, I was tired of it and I just left because I realized that YouTube paid."

She, of course, wasn't getting paid immediately. The YouTube channel started taking off with a video documenting the thought process of moving out of her parents’ house and quitting her job at emPawa to create videos for YouTube.

Korty EO pink dress

Korty’s YouTube channel has taken definitive shape, anchored around two shows: Flow, with Korty andLove and Lies.

Photo Credit: Ikechukwu Okonkwo

That was in 2020. In the months since then, Korty’s YouTube channel has taken definitive shape, anchored around two shows: Flow, with Korty, is an exploratory show into the life of celebrities and trendsetters in the Lagos and wider west African cultural scene. While the newer one,Love and Lies, is a dating show that chronicles the drama and comedy that follows setting random people on dates in Lagos. When she shoots her subjects, what Korty aims for is submersion, seeking a way to remove any distraction from their immediate consciousness and get as much information as possible from them.

“I put my camera far away from them so they can even forget that it’s there,” Korty said. “It’s usually me, my cameras, and a photographer because most of the people I film are in some sense celebrities and once they see too many people, they become guarded but if you make them comfortable they can express themselves.” Editing, though, is where it all comes together as she applies her experiences while staying true to the vibe of the shoot. It usually takes place over an active period of one or two weeks depending on the quantity of footage she gets.

The distinctive contours of life in Lagos and the city’s ever-present trans-generational tensions weigh on Korty’s mind and spill into her visual content. “I think Lagos is the center for a lot of things because there’s a lot of people here so it’s easy to find various communities here,” she said. “Sometimes I’m very conflicted about where I stand because I’m old Gen Z. I’m 24 and there are people being 18-year-old in 2022. It often feels like I'm in the middle because where does the class of 1998 fit into it all.” Still, the grind, hustle, and growing fearlessness of young Gen Z'ers’s in Lagos inspire her more than anything. “There’s more evidence of people’s patterns and lifestyles (in Lagos) because of the Internet and that brings more exposure. I feel like the Gen Z culture awareness in Lagos is so strong that it’s being transferred to other parts of the country but Lagos is the pinnacle.”

Korty EO pink dress, white nike sneakers

“There needs to be a better process for how people get monetized in Nigeria," Korty said. "If YouTube says it’s catering for everyone in every part of the world, they need to do that regardless of the difficulties in the country."

Photo Credit: Ikechukwu Okonkwo

Still, existing in Lagos can take its toll, and navigating the YouTube payment model as an independent creator can make it even harder. “It was very difficult,” she said about getting her channel — none of Nigeria’s fastest-growing — monetized. “They have to send a pin to a post office. It’s very easy for people abroad but if you live in Nigeria, getting your pin and money is very hard.” Korty had to make a video detailing her frustration with the monetization process before further relief came and she worries about the next generation of indie creators hoping to share their talents with the world via YouTube. “With newer people coming into the platform, it’s really hard for them because they are confused. There’s a procedure but the procedure doesn’t work unless you get your pin and it’s mentally wrecking.

“There needs to be a better process for how people get monetized in Nigeria, if YouTube says it’s catering for everyone in every part of the world, they need to do that regardless of the difficulties in the country. I know that’s easy to say but that’s just it, it shouldn’t be better in one place than it is in another, and also I guess Nigeria should also care about these things enough to make it easier for everyone.”

Earlier this year, a video documenting Korty’s attempts to schedule an interview with Wizkid over three days in Lagos went viral. And it’s an experience that has only solidified her resolve. “For me, the main thing is that only a few things can stop me in this life," Korty said. "Obviously, the goal I had was to get Wizkid but the real thing was for people to see how if you set a goal and you move towards it, you either get it or move really close to it.”

For all the inspirational themes of her videos and persona, Korty is not a filmmaker that really cares about cajoling an awakening in her audience, seeing her role as more of a guide on the facts of a situation or phenomena. “I think for me, my role is to talk about certain things, shine a light on them and leave people to take whatever they want from the video,” she said. “That’s why I tell people that my aim is not to inspire. If it happens that you’re inspired, that’s on you.”

Despite all her protestations to the contrary, Korty understands the impact of her videos and is warming up to her role as an archivist of Nigerian contemporary culture. “When I do things, I don’t have plans but they start to unfold and people start to see what it can become,” she said. “I’m just trying to make it in life, I’m really not trying to be a culture shifter but I also feel like if that is happening and people are seeing a pattern, it’s now up to me to see if I can accept that responsibility.

"I’m very aware that there is a growing responsibility and, if I don’t accept it, I might not grow, I could just be stagnant."

In many instances, Korty is quick to reject tags or titles and as our conversation comes to a close, I ask what she identities as these days. “I’m starting to say filmmaker,” she said. “A lot of people would say that where do I get the audacity to call myself that because I make YouTube videos but if you put me up next to the YouTubers of today, there’s a clear difference. It’s also why I don’t like it when people call me an influencer because I didn’t sit outside Eko Hotels for three days to be called an influencer. Filmmaking is where I have found myself. In 2018, I was in fashion. Before 2018, I was designing. As time passes, I’ll stumble on something else. I don’t think I can do one thing for all of my life. But whatever I decide to do, I’ll succeed and be competing at the top.”

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