Op-Ed
Photo: Chaze Matakala

Zumbi's Legacy: Finding African Spirituality in the Heart of Brazil

In the geography of the Black Atlantic, the waters of the Paraíba do Sul and the Zambezi intertwine and give birth to a goddess.

A light burst of wind brings me to my feet. To dance is also a form of praise. To the rhythm of djembe drums and musical bows, members of the Afro-Brazilian community on Ilhabela Island dance toward the altar, with red and pink rose petals at their feet, towards the priest, in exalting tones and floral prints, animal prints and wide skirts.

The day is Dia da Consciência Negra, the 20th of November, Black Consciousness Day in Brazil. We are gathered under a roofed and open air public space, surrounded by rainforest, an unknown number of waterfalls, and a small skate park, to celebrate the life and struggle of Zumbi dos Palmares, an anti-colonial and anti-slavery leader descended from West African nobility.

In between clasped and raised hands the participants are carrying homemade bread, papaya, mandioca, oranges, watermelon, mangoes (of course) and many more offerings. At the end of the service, we will be offered these fruits to eat, having been blessed many times over. There is holy communion too. The choir sings, among many others, a Zulu song familiar to me. At this mass service, the altar boys are actually altar girls, and the smiles on faces in attendance are the kind that brighten up your internal weather. The priest speaks of acknowledging roots, on the intersections of Blackness, spirituality and consciousness.

It's painful to admit and yet trendy to discuss, but oppression seems to be a standard of human existence, only enforced to varying degrees by different human beings at different times. As such, every generation has its celebrated leaders who fight for humanity. Brazil's happens to be Zumbi. The legacy of resistance is passed down to generation ad infinitum, from Wangaari to Wynter, Sankara to Fanon, Graça and Lumumba, Fela and Nina.

I am welcomed into the circle, of yellow plastic chairs. A poetic and intergenerational conversation about the history of Blackness here in Ilhabela and Brazil at large is underway. I listen with intent. This is what I am here for.

The festival taking place is political as well as spiritual. In Quilombos such as Palmares which was led by Zumbi during the 17th century according to African ways of being, inhabitants spoke many languages, practiced many religions and were of different origins. Zumbi was thought to be immortal by the masses who followed his path to liberation, which is why the celebration of his undying legacy comes in such disparate and vibrant forms.

I never heard of Zumbi before coming to Brazil, though. In the schools I attended in Southern Africa, we learnt a lot of European history. It seemed more vital that we were conscious of Napoleon and cake-eaters, than Zumbi and the Quilombos.

Imagine—self-sustainable communities of self-liberated slaves, and other indigenous people in the 17th century. Imagine what that legacy of resistance could be constructed as in our present moment? I'm listening, and processing, this entire side of Africanity that I missed out on in my childhood, and feeling so grateful to have sought it out and to be able to share it.

It makes sense that the African legacy of resistance is so strong in Brazil, since it has the highest population of Black people in the world—second only to Nigeria. The African spiritual consciousness is strong too and I felt that as soon as I got to this island. I'm all too familiar here, people look at me like I am a distant relative.

Photos: Chaze Matakala

I came here for an artist residency which transplants my Masters research in African Studies, to the context of indigenous and Afro-descendant communities in Ilhabela. Since my research at home entails finding myself through decolonising my history, as seen through the lens of my cameras, I am bound to find pieces of myself here in Brazil.

Slaves, I'm taught, used their spirituality as a means of survival and unity. Having been barred from identifying with their tribal groups and being made to adopt Christianity, it's these more syncretic traditions that remain. I gaze at a crucifix and close by there are wooden masks that are staring back at me. Who is to say if they were brought here from Africa on a plane or carved from the memory of somebody who arrived on a ship, at Praia do Fome, beach of hunger, where slaves would be fattened after a journey across the Black Atlantic, and drank the water from waterfalls flowing still today.

I've been told if you drink the water on Ilhabela, you will always come back, some time.

How can I describe this feeling of looking my ancestress in the eye? Her name, is Nossa Senhora Aparacida, she is known as the "mother of Brazil." She emerged from a river, Paraíba do Sul. She is The Black Mother Mary, and she is worshiped all over Brazil in varying spiritual practices. I am subtly reminded of a figure from my own culture—the Lozi of the Western Province of Zambia. Her name, is Mbuyuwamwambwa, she who all of our litungas (leaders) are descended from, and she, in some mythical oratories, emerged from the Zambezi.

I breathe deeply, flooded by the intertwining of these apparitions of the Divine Feminine, and how my presence here on Ilhabela on Dia da Consciência Negra, continues a legacy of resistance. Did Nossa Senhora Aparacida and Mbuyuwamwambwa conspire for me to be here?

I slip into a memory, my own juncture of Blackness, spirituality and consciousness. My primordial memory of church-going involves me running with my sister, in white stockings and matching dresses (we are not twins). We are in an open field, or maybe it's just a park which my childhood lens maximises the size of everything at play. The tops of the tall trees are dancing in the wind, this always causes deep excitement within me. We are being wild, smiling so hard my cheeks hurt, we jump into a puddle of mud. I like the way the mud dries and cracks on my shiny black buckled shoes, stockings are stained—this is not a good church look.

On Dia da Consciência Negra, on a humid day on an island far away from home and very close to my self, I felt my stockings inverted, and what once seemed like a stain to dampen the aesthetic of worship, is now revered and remixed in ways I did not know possible. Until now. The word is Sincretismo, the amalgamation of different spiritual forms. Its seems one does not have to override the other. We can, in fact, exist and worship in multiple forms. I can untie my tongue and speak in broken Portuguese, be understood by my distant relatives who are so happy to meet me in this lifetime. I can kneel at my grandmother's feet and speak in broken Lozi, and rest easy because my namesake understands me like no other. I can pray in English and know my ancestors and Creator understand me, since they exist in the River of Time Eternal and conspired all this magic we see before us.

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Photo still courtesy of YouNeek Studios.

The Official Trailer for 'Malika: Warrior Queen' Is Here

Malika surely means business in the clip that sets the scene for YouNeek Studios' newest animated pilot.

After much anticipation, the new trailer for Malika: Warrior Queen, starring Nollywood's own Adesua Etomi, is finally here.

In the trailer, we already see the Warrior Queen fearlessly stand up to defend her people against enemies who have set their sights on seizing her expanding empire of Azzaz. Facing threats of invasion by foreign cultures, Malika now has to decide how to fight a war both inside her kingdom and outside of it.

"War is coming," she declares.

Malika: Warrior Queen was executive produced by Niyi Akinmolayan of Anthill Studios. The series has been three years in the making, with a two-part comic series already available for reading; and even more so in line with YouNeek Studios' mission to create stories inspired by African history, culture and mythology.

Joining Etomi in the cast are Femi Branch, voicing Chief Dogbari, Deyemi Okanlowon, voicing the WindMaker and King Bass, Blossom Chukwujekwu as Abdul and Sambassa Nzeribe, voicing General Ras.

Check it out below.

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All photos courtesy of Remi Dada

Afropreneurs: Meet the Designer Reinventing Nigerian Workspaces

Remi Dada's Spacefinish is shaking up design to create futuristic work environments for African companies

In the digital age when a fancy rectangle in our pockets can find us whatever we want, customize it and deliver it to our door, it's odd that the same thought process isn't also applied to physical space. Why does every parking lot feel exactly the same? Can waiting rooms be designed to make time pass more quickly? How can we bring these new standards of personalization into the areas where we live our lives?

Nigerian designer, Remi Dada, is doing just that. With both architecture and business degrees, Dada started his career in tech working in user experience and product marketing–eventually ending up at Google Nigeria. Once he started working in the office however, Dada didn't find it to be an environment that sparked inspiration or productivity. It felt more like rooms with tables and chairs rather than a place that nurtured new, progressive ideas. Luckily, the perfect project presented itself: redesign the office. Dada jumped at the opportunity to meld his practical knowledge in user experience with his love of design and architecture–and the result turned some heads.

Thus Spacefinish was born, a pioneering design company based in Nigeria that works with companies to transform ordinary office space into beautiful and functional environments that increase productivity and employee satisfaction. I spoke with Dada about the purpose of Spacefinish, the importance of design in the workspace and the unique properties of designing in Nigeria for Nigerians. Read on for insights from the design entrepreneur on the impact of spaces and what the future holds for the company.

This interview has been edited and condensed for clarity.

Nereya Otieno for OkayAfrica: In your experience, how important is workspace environment in Lagos? How is it viewed?

It hasn't been prioritized. A lot of employers do not invest heavily in their employees and you can see that in work spaces all over the world. Now, people are also beginning to understand that high-performing employees–especially millennials–want to work in a space that inspires them and with people who inspire them. Right now in Nigeria it is still very new.

We've been able to measure how companies have been performing prior to us renovating their space and afterwards. What we've seen consistently is that our spaces help with employee retention, they help with collaboration and they help with inspiration. One important thing that we always measure and that we try and add to our design is what we call 'PIC.' PIC is the measure of productivity, innovation and collaboration–now we can track that within a workspace. These three key things are the pillars of how we create better work spaces.


A sketch showing plans for a space in the PwC Experience Centre, Lagos.

With that data, it's probably pretty simple to pitch Spacefinish to a company. But what was it like in the beginning to try and sell the first Spacefinish idea outside of Google? You're essentially coming into a stranger's space and saying 'you're doing this wrong.'

True. We were very lucky in that the first space we did was a Google office. It's Google. Everyone aspires to have a workplace like Google and people visiting the office were curious about how a space like that could exist in Nigeria. So there was a lot of interest but no commitments. Our first real commitment came from a company called Andela, a tech startup aspiring to be like the spaces you see in Silicon Valley. But they were looking to create a space just to meet their capacity and meet their head count, that was all. They thought they wouldn't be able to afford what we'd done for Google.

I went and pitched for them to do something different instead of creating the standard, generic workspace that we've all seen. Then I took our approach: connect the expense and cost of that project to the potential output of the team working there and how that could affect the company's bottom line. When we do that, it becomes an easier conversation to have. Once we are able to connect with the key decision makers and give them metrics they actually care about—like it's not about having a pretty space but about having a space that will allow people to achieve their short and long-term goals—they tend to be more receptive.

A meeting room at the Google offices in Lagos.

Do you feel like a bit of a disruptor or trouble maker?

I would say when we started we didn't feel like a disruptor. For me, it felt very natural because it was in line with what I was hired for and the world I was coming from. When you work at Google, you tend to live in an innovation bubble. So we didn't feel like disruptors while it was happening, but when we got people's reactions—the industry's reaction—then we realized that what we were doing was actually groundbreaking and very new to that part of the world.

Okay. And then what do you do after that? You just keep poking at that nerve?

Yeah. [Laughs] So what happens after that is the floodgates open up and we start to see a lot more demand than we can handle as a company. That gave me the confidence to quit my job at Google and do this full time. We are now starting to figure out how to do it to the best of our capacity at the same level, and sometimes surpassing, what our peers are doing across the world.

What do you find is the most important element within the workspace? How does Spacefinish highlight that?

People are the most important element in the workspace. One CEO said that his team was very unruly—weren't well composed. There is a mentality that we all subscribe to, especially coming from Nigeria where you see people at the local airports not obeying the rules. But those same people, as soon as they land in Heathrow, they're suddenly very compliant. They're the same people. The only thing that changed is their environment. New spaces can cause people to change their behavior—they morph into the space. For that client, the leadership was very happy that their team members began acting in the way they wanted them to act when we changed the space. The psychology of the whole thing is very interesting. That's why we take a human-centered approach to design, with a lot of qualitative and quantitative research before we begin.

View of the Vibranium Valley warehouse workspace in Lagos.

I'm originally from California and I grew up in Silicon Valley–it's a very peculiar place simply because of the concentration of resources. There are surely different challenges for a developer in Nigeria versus one in Silicon Valley. What is the most unique thing for you, after all your travels and experience, that makes designing for Nigeria special?

That's a really good question. You rarely find imagery of inland Africa that is progressive and modern. The first time in recent times was the Black Panther movie and that's why it was so huge. Kids could see a different version of what Africa could be in their collective imagination. I'm making this correlation because that is what I think is different for us, from a design standpoint. For example, the Google office in Nigeria looks very Nigerian. It has a lot of cultural nuances and it is locally relevant to the region, however it is a very sophisticated and modern space with all the right technology. There's videoconferencing, micro-efficiency, access control and security but with the backdrop of an African space. When people see that, it feels very fresh and new and there is so much content that we can use to inspire–from artwork to traditions–and we infuse all those things in to the spaces we're creating.

Do you have a favorite space you've done?

All the spaces we've done have been fantastic. But I think my favorite to date is the PwC office, it is an innovation hub and a huge cultural departure for PwC. They are more or less known as a rigid, stoic brand and they wanted a space that defied all of those things. So we created an innovation hub that was super, super, super futuristic and the first of its kind in West Africa. Anyone who knows interior fitouts understands that lines are straightforward but curves are complicated. This space has a lot of curves. That's difficult to do anywhere in the world but 10 times more complicated in Nigeria because we just don't have access to the right tools and technology that you will find elsewhere. But it came out very well and that has been my most exciting space so far.

A look at the PwC Experience Centre, Lagos

Was it also the most challenging?

It was, yes, because of the design ideas we wanted to achieve. We have things like revolving doors that were inspired by the hobbits' shire in Lord of the Rings and a single workstation that extends across the entire space. There are a lot of lights, floating elements and Nsibidi—an ancient African writing system that we used to create a new language. The artwork is very deep and gives a timeline of different instances in Africa where technology has inspired innovation. It was a very involved and challenging project. But we do the challenging things because we feel it allows us to move forward and push boundaries.

Sure. It's exciting for you and everyone you work with but also, I'd say, for the local contractors and artists doing the artwork.

You know, that is something that we do differently. Most architecture firms just design but we design and build. We do that because, when we started, no one in the market really understood what we were doing. We were asking for materials that didn't exist so we had to create our own. Also, everything we do is local, we don't import anything–which can be an even bigger challenge. But we want to know that we are helping to build industries here in Nigeria, we want to help fix the lack of resources in this part of the world. We could import but it doesn't help the community and economic infrastructure in the long run.

A meeting room in Vibranium Valley

I think the first time our impact hit me was when we were building a place called Vibranium Valley. That's been our biggest project so far: a 2,000 square meter office that was built in a massive warehouse. I went there on a Wednesday one day and we had over 200 people working in the space. And for the first time I was like, "Wow, we really have the ability to create jobs as well." It put things in context for me.

Are there any plans to venture outside of offices and corporate workspaces with your human-centered approach? Classrooms, waiting rooms, etc.?

We are actually about to embark on our first non-office project. We are designing and building the interior of two international airports in Nigeria: Lagos and Port Harcourt. Two very massive projects that we couldn't say no to because...no one says no to international airports [Laughs]. So it's a good way to toss us into things outside of the workspace. So everyone should come fly to Nigeria and check it out when we're finished.

Catch Nereya on her Instagram here.

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Still from 'Harriet' trailer.

Watch Cynthia Erivo as Harriet Tubman In the Moving New Trailer for 'Harriet'

The highly-anticipated biopic about the life of the iconic freedom fighter is due out on November 1.

Back in 2017, it was announced that Tony-winning actor and singer Cynthia Erivo would be taking on the role of the iconic freedom fighter Harriet Tubman in the upcoming biopic Harriet. We've been anticipating its release ever since, and today, the trailer for the buzzed about film has finally arrived.

The moving and climactic trailer sees Erivo delivering a convincing performance as Tubman. The film follows the hero's journey from escaping slavery to becoming a legendary abolitionist and freedom fighter. Here's the official description of the film via Shadow & Act:

Based on the thrilling and inspirational life of an iconic American freedom fighter, Harriet tells the extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes. Her courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
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