curated a show on the photographs of another attendee, K. Kofi Moyo, last year. But Nance’s spontaneous, gamelyimages—in one of the accompanying essays, Antawan I. Byrd calls her method “crowdwork”—may get closest to the experience of actually being there. “I don’t call the people in front of me my subjects,” she told Onabanjo. “I was part of the whole thing.”Her pictures flit between the spectacles and the sidelines.
The activist Audley Moore, at the Lagos airport. In the background are the artists Charlotte Richardson-Ka, at left, and Wadsworth Jarrell, at right.Nance’s photography scrambles the nameless and the notable, mirroring the spirit of a festival that levelled boundaries even as it celebrated difference.
A portrait of Nance shows her seated in a sculpture garden amid a crowd of terra-cotta figures, wearing a polka-dot head wrap and a T-shirt that reads “Okra is an African word.” Hands on her knees, pants rolled to the ankles, she looks ready for the cultural spadework that the etymology implies. After the festival, she became an indispensable chronicler of rites and revelry across the diaspora, from church pews in Brooklyn to carnivals in Rio de Janeiro and Yoruba ceremonies in South Carolina.
“Last Day in Lagos” devotes equal attention to unofficial outings where artists explored Nigeria and socialized with their peers. Nance visited Fela Kuti’s Lagos night club, the Kalakuta Republic, where the outspoken Afrobeat star held a “counter-” excoriating Nigeria’s military government. She snapped scenes of bronze-casting workshops in Benin City, where the festival’s official emblem, an ivory pendant mask depicting Queen Idia of the Edo, had been created centuries before.
What a festival! Only one person wore clothes.
cc theocrite Elise_Gabrielle
Um criminoso que não cumpriu sua pena é o novo presidente do Brasil. Que Deus nos proteja
Thank you Tolu.