Interview With AFF Photographers

BY : NATALIE HOPKINSON

On December 1, 2023, students from the Global Trends in Journalism seminar at American University’s School of Communications (AUSOC) celebrated the completion of their oral presentations about the Africa Foto Fair 2023 Edition. Led by Dr. Natalie Hopkinson, this program served as a cultural exchange, offering students an opportunity to explore photography in Africa and beyond. Through interviews with both emerging and established photographers, the students gained insights into the diverse narratives shaping contemporary African photography.

Aline Behar Kado

Studies global trends in journalism at American University in Washington, D.C, USA..

D.C. Photo by Julia Luce Mouketo

Louis Oke-Agbo: A Beninois Window Into The Mind, Body, And Earth

By Aline Behar Kado,  Contributing Writer, Africa Foto Fair.

Photography is about observing the world and connecting it to something bigger. For Louis Oke-Agbo, this means connecting the true value of the human, of their mind and soul to what we see around us. He incorporates elements and textures from Earth into the models he uses, connecting their bodies to his work and raising awareness about issues such as mental health and climate change.

Oke-Agbo began his journey as a photographer after completing a 3-year training, capturing portraits at weddings, baptisms, and family events. It wasn’t until 2009, when he won first prize in the National Art Festival in Benin for photography, that he decided to venture into something new.

He traveled to Belgium and France to research mental health with the help of some friends. This granted him a new perspective on the crisis in Benin and inspired him to start Vie et Solidarité, his non-governmental organization that specialized in bringing art therapy to hospitals and the community, in 2017.

The Beninese photographer uses his work to destigmatize and support those living with mental health issues. Like in many West African countries, Benin lacks proper services and resources to care for the population’s mental care. The lack of research and understanding also leads to the ostracization of people who need this care. 

For Oke-Agbo, the focus is not on what makes them different but on the value of who they are. 

“You have to go to the essential to be able to defend true values, as in my work,” said Oke-Agbo. “My work is not superficial, but it defends true values, it defends for example culture, it defends human beings.”

The photographer has found ways not only to incorporate photography into his community but to bring his community into his work. Oke-Agbo will use children and people from the streets of his village to be his models. He will then superimpose elements and textures using digital technology to create masterpieces. 

“You will see joy because you will see that people are happy,” said Oke-Agbo. “But when they are superimposed on these elements, it reveals things that cannot be seen with the naked eye.”

As we look towards the future, we see a world with a fast-paced, digital culture. With social media taking the world by reins, younger generations are using cameras to capture fleeting moments. Oke-Agbo shares the message that photos cannot be merely superficial; they must defend the true values of human tradition.

Oke-Agbo reflects on how photography is universal. That even if people do not speak the same language, a photograph is a viscerally visual way we can all understand the greater issues. 

“Because every time people see my work… There is something, there is soul in my work,” said Oke-Agbo. “And it raises questions. It raises questions. And it is from the moment I speak that it frees me.”

His work not only captures the value of the humans he uses as models but creates an impactful message that we, as people are connected to the Earth, to the community, and our spirit through 

Kaishi Chhabra

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Daniel Kachunga Buuma: "Since I Was Born, I did Not Know Peace"

By Kaishi Chhabra, Contributing Writer, Africa Foto Fair. 

Daniel Kachunga Buuma, a dedicated photojournalist hailing from Goma City in the North Kivu province of the Democratic Republic of Congo, has been capturing the essence of his community since 2021. His journey into photojournalism is rooted in a childhood fascination with photography, borrowing his brother’s camera for various community events, evolving from ceremonies and weddings to a profound commitment to documenting the pressing issues confronting his community. 

In his own words, Daniel describes his daily work as a photojournalist, focusing on issues ranging from the environment and socio-economic matters to lifestyle, and arts and culture. This reflects not only his technical skills but also his passion for narrating the stories that shape the fabric of his community. Daniel’s unique approach to photography is deeply intertwined with his personal experiences and his commitment to being a voice for his community. 

“It’s not only just taking pictures, it’s the voice of the community, to which I can add,” Daniel said. This sentiment captures the essence of his work—a commitment to being a storyteller, a voice for those whose stories might otherwise go unheard. 

Embarking on his journey as a photojournalist, Daniel recalled his transformative moment during the unrest in 2021 when people protested against the United Nations’ perceived failure to bring peace. Daniel, armed with his camera, documented the protests, and this pivotal moment marked the beginning of his transition into photojournalism. His evolution was further catalyzed by an opportunity from the VII Academy, where he honed his skills under the guidance of Stefano de Luigi. The mentorship provided a deeper understanding of the responsibilities of a photojournalist and offered a platform to delve into significant projects, including “Kivu Displaced.” 

The “Kivu Displaced” project stands as a testament to Daniel’s commitment to telling the untold stories. This project focuses on the hardships faced by individuals displaced due to conflict in Rutshuru, Nyiragongo, and Masisi. The series exhibited at the Africa Foto Fair, offers a rare and intimate glimpse into the lives of those affected by the conflict, shedding light on the human cost often overshadowed by broader geopolitical narratives. 

“Since I was born, I didn’t know about peace,” Daniel reflected, encapsulating the harsh reality of a region where over 6.9 million people have been internally displaced due to prolonged conflicts and violence. His lens serves as a witness to the ongoing conflicts and tensions 

involving the United Nations and the M23 rebels in the region, bringing attention to the human impact of political unrest. 

As Daniel navigates the challenges of his profession, he has faced personal risks, including being arrested by national intelligence during coverage of an armed rebellion conflict. His dedication to independence in storytelling, and avoiding external influences, reflects not only his professional ethics but also the hurdles journalists navigate in the pursuit of truth. 

Daniel’s work, rooted in the heart of the DRC, speaks to global trends of increasing media literacy and the growing need for authentic, community-driven narratives. According to Daniel, his participation in the Africa Foto Fair signifies not only a personal milestone but also an opportunity for African photojournalists to converge and share diverse stories. Daniel sees this as a platform to make their narratives known to a wider audience, fostering understanding and empathy for the complexities of life in Africa. 

Elise Fitte Duval: "The Land Is Suffering"

By Kaishi Chhabra, Contributing Writer, Africa Foto Fair.


From the vibrant tapestry of Martinique in the Caribbean, and the rich cultural landscape of Senegal, emerges Elise Fitte Duval: a seasoned photographer whose lens is not only a window to the world but a tool for storytelling. 

At almost 68, Elise has spent 21 years between Senegal and her native land of Martinique, crafting a visual narrative that transcends borders and challenges the conventions of photography. 

Elise’s journey into photography was shaped by her early experiences in art school, where she initially pursued painting but found solace in the expressive simplicity of photography. “I am too much of an introvert,” she confesses, describing photography as a medium that allowed her to venture into the world and understand it better. Her transition from painting to photography was motivated by the desire to connect with people and explore the human experience. 

Her work, spanning diverse subjects, reflects her deep-rooted interest in understanding the world’s complexities. From capturing the fluidity of dance to delving into the lives of people in Senegal, Elise’s lens is a vehicle for unraveling the stories that define humanity. Her early focus on dance photography, particularly capoeira, evolved into a broader exploration of the social fabric, intertwining the aesthetic and the sociological. 

A notable turn in Elise’s career occurred in 2006 when she witnessed the devastating floods in Dakar, Senegal. Deeply moved by the plight of the people, she embarked on a photographic journey, documenting their struggles and offering a poignant portrayal of their lives. Her work 

transcended mere aesthetics, becoming a tangible document of a community grappling with environmental challenges. 

As an independent photographer, Elise founded her own company, simply bearing her name. In an era where commercial pressures often shape artistic expression, Elise remains steadfast in her commitment to following her ideas and expressing herself authentically. Her work, often direct and unfiltered, defies conventional categorizations, a testament to her unwavering artistic integrity. 

Elise’s series “Wounded in Places,” showcased at the Africa Foto Fair, encapsulates her evolving approach to photography. Exploring the impact of pesticides on communities in Martinique, she moves beyond traditional techniques, incorporating digitalization and collage. In her own words, “I wanted to make landscape photography but showing that the land is suffering.” This innovative approach fuses the past and present, analog and digital, creating a visual narrative that goes beyond mere aesthetics to delve into the environmental issues plaguing the region. 

Living in Senegal for over two decades, Elise admits to initially feeling like a stranger but now identifies more as Senegalese than Martinican. Her work often mirrors this sense of transformation and adaptation, echoing the constant evolution she sees in the art of photography. Her recent interest in documenting citizen movements and focusing on women’s issues reflects her commitment to staying attuned to the evolving narratives around her. 

As Elise Fitte Duval’s lens captures the beauty, struggles, and evolution of the human experience, her work becomes a compelling narrative that speaks to global trends. In an era where photography is omnipresent, she challenges the notion that the picture itself is enough. For Elise, the form and presentation of the image are equally crucial, forming a dynamic interplay that breathes life into her stories. Through her lens, we not only see the world but also feel the pulse of the communities she touches, making Elise Fitte Duval a remarkable storyteller in the ever-evolving narrative of humanity. 

Sarah Clayton

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Natnael Ashebir: "The Hinger To Know Where I Belong"

By Sarah Clayton, Contributing Writer, Africa Foto Fair 

Can the past and present speak to one another? That is, at least, one of the giant questions of life that Natnael Ashebir tries to answer in his work Where We Are. In one specific photograph, two people face one another, both shirtless. One is from the present day. The other is from another time. But in that photograph, in that moment, they face one another, as if in discussion. As if they can hear the other one. As if they have something to share with the other.  

Ashebir’s work, currently exhibited in Abidjan, speaks to the necessity of understanding communities in our world. It is one step on a photography journey that has spanned years and seeks to explore identity and history. 

Ashebir, born in 1995 in Ethiopia, and based in Addis Ababa, started as a visual artist. Photography came to Ashebir after he started making digital art in 2018. Part of the African Union’s AU20 Artists & Writers Residency Programme, and a 2022 Emerging Painting International Finalist, he uses his phone to take photos. 

Ethiopia, where Ashebir lives and works, does not make creating art and other media easy. According to the Freedom House, Ethiopia is “not free,” and civil rights are generally not respected, especially after the new Prime Minister took office in 2018 and in light of the Tigray conflict and peace agreement. This leads to self-censorship and other impositions on journalists and media creators. 

But instead of hindering Ashebir’s craft, this climate makes his work all the more important. As Ashebir wrote, “arts and culture can strengthen the knowledge and exploration of community values. I believe what I make is important because they have the potential to foster conversations and engagements with the community.” 

In times where the world seems divided, and where empathy is in limited quantities, understanding communities is more important than ever. So much of understanding conflicts and events in the world comes from understanding the people involved in them: their hopes, dreams, ways of life and their sense of determination. 

In another photograph from the collection, Ashebir positions two negative images of older people from a time gone by. To the right, a young child in the present seems to be walking towards them. What can the child learn from those that came before them? What wisdom can be imparted? Communities learn from the keepers of their history. It seems as though Ashebir wants his audience to never forget that. 

Anyone can relate to Ashebir’s themes of community, identity and history. Where do we come from? How does that inform how we act today? As Ashebir’s work suggests, the past informs the present. People act the way they act because of who came before them.  

As Ashebir explained, “the hunger to know, the question to answer where I belong, where can I get a sense of self, owning the story, and many more are a means to explore identity and history.”

Natalie Flynn

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Yann "Fro" Gaha: Deconstructing gender Roles In "Macho" Society

By Natalie Flynn Contributing Writer, Africa Foto Fair. 

Models pose as the Greek water god Poseidon and an Egoun, from Benin, in Yann Gaha’s exhibition for Africa Foto Fair 2023. Gaha (known as Fro and Co or simply Fro) creates colorful reincarnations of the legends he loves, made more striking by the fact that, like all of his work, it was shot on his iPhone camera. 

“In Fro’s Eye” is a timely exploration of cultural fusion and the deconstruction of gender roles that opens new avenues for self-expression. This exhibition is just one step on a journey into iPhonography that began in 2019. 

Fro was born and raised in communes of Abidjan, Côte d’Ivoire, whose multicultural inclusiveness shaped him as an artist. He graduated from the ISTC Polytechnique School of Journalism, and became a senior editor by the age of 20. In his current role as an artistic director, he has captured and collaborated with creators like Olivia Yacé and Anjélique Kidjo, among others. His work celebrates freedom of expression. It also aims “to deconstruct macho African society by leading the world to discover the masculine form” in ways that push back against the rules were imposed on him. 

“I evolved in a society where it dictates the codes and ethics that a man must have,” Fro says. “So, as an adult with a great open mind and extreme tolerance and sensitivity I want people to be free to be who they want to be by breaking the codes.” 

“In Fro’s Eye” aims to show this to a conservative audience. It also aims to highlight the cultures Fro grew up surrounded by, through the “Africanization” of Western mythologies that inspire him. 

Fro’s commitment to iPhonography is a choice, partially for flexibility and partially to prove that one doesn’t need traditional camera equipment to produce impactful and legitimate art. 

“In our region, some people think that taking photographs with a phone is just fun or learning, that nothing serious could be gained from it,” he says. “My participation in the AFF today proves the opposite. With a digital or a telephone camera, I remain simply a PHOTOGRAPHER.” 

Fro’s work will resonate with anyone who has ever felt constrained by societal expectations, and anyone who has ever let perceived lack of qualification hold them back from creative exploration. Fro’s lens shows us a new way forward, one where the gender binary does not dictate our expression, where diversity widens our imaginations, and where everyone has the tools to become an artist. 

Nicholas Fogleman

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Xaadim Bamba Mbow: "I Think Religion Can Connect People"

By Nicholas Fogleman, Contributing Writer to Africa Foto Fair 

Senegal is famous for hospitality so when a man Xaadim Bamba Mbow didn’t know approached his house looking for coffee and food, he didn’t hesitate to share. His work is timely because of all the conflict and pain we see in the world today. Pain inflicted by our fellow humans. 

“It’s that kind of hospitality that I want to share, the togetherness. I think it’s important because if everybody had that kind of concept, there wouldn’t be as much war because people would understand, we are all the same,” he said. 

Xaadim was born in Dakar, Senegal and was drawn to art by his creative family. He began painting at an early age and after a master’s degree in law, eventually chose photography as his craft. This led him to take part in major exhibitions in Africa and beyond.

Xaadim uses his work to question what it means to be a human and how we are all connected through a journey of self-discovery.  He uses themes of religion and symbolic colors to convey a way of life that celebrates the diversity of cultures and a shared future.

“I think religion can connect people. Sincerely, I think some people think that religion is a factor of division, and you see fanaticism in the world. Some people using God to kill their brothers, but I think, especially in Senegal, religion is a part of connection,” he said. 

Xaadim often edits photographs he takes in the street to create powerful portraits that exemplify the humanity he sees around him. In a world with AI images and what he calls “fast photographs”, Xaadim wants to show that making art is essential to being a human. He creates art that shows emotion and beauty rather than commodification. These portraits often contain a subject in the foreground, surrounded by other smaller subjects or cultural symbols. 

“It is very powerful and particularly the eyes are very important because it is said that eyes are the windows of the mind, of the soul,” he said. 

For Xaadim, art is more than a career. After working in institutions, he felt that pursuing a creative field was something he had to do if he was to be faithful to himself. His photographs reflect the world he sees around him but also, what he sees within himself. 

“I think an art is something that you can’t decide to do, you cannot decide to be an artist, you know, it’s a calling,” he said. 

Xaadim doesn’t know what his future holds but sees potential in his country and community. The energy around art, culture and ideas has the possibility to create positive change given the right opportunity and guidance. He creates art that pushes these themes forward in the consciousness of those who view it. 

Anyone can connect with his thoughtful pursuit of self-reflection and desire to see humanity come together. His photographs create a world bound in a shared humanity and curiosity.  

“We are all the same. I’m not working on man but human. I think we are all one. That’s why I make the main subject one person.” 

Taiye GodBody: "You Are Beautiful. You Are Worthy Of Love"

By Nicholas Fogleman, Contributing Writer, Africa Foto Fair 

Taiye Godbody’s global perspective comes from his time spent in communities across the world. His time in Ethiopia, Kenya, Zambia and Ghana has set him on a journey to create timeless works of art that break through the over saturation of photographs in the world today. 

Born in New York, his travels taught him to draw inspiration from the past and bring themes and ideas into a new context. A context he envisions and is representative of what he sees around him. 

“When you look back to the masters and the artists that are still relevant to us today…there’s something about them, a factor that is really intangible that has allowed them to maintain relevance to this day,” he said.

Taiye draws inspiration from artwork that has outlived its creator. An accomplishment that is becoming harder in an age of technology and oversaturation. Taiye believes we are what we consume and wants to see a world where consumption is more purposeful than the everyday photo. He views his work as a medium to change what people see, to gain a deeper and authentic representation of the world. 

“It’s now easier than ever to take a photo and to share a photo…Consumption is so much more than just eating. It’s what you listen to, what you watch, what you write what you read,” he said. 

Taiye’s art changes this by creating photos that contains content and themes that are missing from the media landscape. He creates art that represents himself as much as it does the world, profound works with textures and designs that break through the mundane. This is an effort to reprogram a landscape that can lack diversity and representation.

“Through all these travels, I thought I was creating or documenting the world around me, but I was really documenting myself. Even when I was not in the photo, all my creating is an effort for me to construct myself, and to express who I am,” he said. 

Every piece of art he creates is an honest articulation of who he is. His artwork is representative of what he wants future generations to see. His photographs represent a world where media doesn’t oppress groups or categorize people, but rather gives them space to develop a self-image through beauty and community.

“I look at my work as a counter programming to show you that you are beautiful. And to show you that you’re worthy of love, you’re worthy of respect, you’re worthy of being in these places,” he said. 

Taiye is grateful for his mentors and for those that came before him. His work represents generational change that will be joined together with the work of those that inspired him. He knows that his work will inspire future generations and continue to bend the ark towards a more representative and inclusive artistic community. 

“I’m living my dream from when I was like 10 years old, when I first started this…I would be so proud of what I was doing now.”

Luna Jinks

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Mamadou Diallo: Love, Solidarity And Life in The Streets Of Abidjan

By Luna Jinks  Contributing Writer, Africa Foto Fair 

Mamadou Diallo, a 24-year-old photographer out of Cote D’Ivoire, started his work at just 16 years old and has quickly gained respect for his phenomenal street photography. His series, “Precarity,” shows what it is like to live a precarious and insecure existence when it comes to economic status or social welfare.  Diallo, who uses the moniker “Dragoste” professionally, is originally from Burkina Faso and moved to Cote D’Ivoire as a young adult. After years of fantastic photography in studios and streets of Cote D’Ivoire, Diallo is bringing his work to the Africa Foto Fair. 

“Precarity,” displayed in AFF’s 2023 exhibition, centers around the ambiguity of poverty. Precarity, in this case, is defined as separate from poverty. Precarity is subjective and not quantifiable. In his exhibition, it is defined as “a feeling that doesn’t always correspond to economic reality.” The goal of this photo series is to show what it is like to be in this state of precarity and insecurity, where society may not qualify someone in the state as impoverished. It is hard to define, but simple to see his meaning through his photographs. 

Street photography like Diallo’s is essential to understanding the lives of regular people around the world. In this way, Diallo’s work is journalistic, as well as artistic. His work provides insights on life in Cote D’Ivoire that many of us may not have access to otherwise. In a country with government controlled and monitored media, Diallo’s photography is crucial for the outside world. When asked what message he tries to convey through his photography he said, “love, solidarity, and life in Africa.” In my opinion, this encapsulates his entire catalog perfectly. His work should be an inspiration to us all of how vital and moving street photography can be.

Diallo works primarily in black and white, or monochrome. For Diallo, this medium assists him in telling a story through his photographs. “To make a successful monochrome photo,” he says, “…You must guide the viewer towards the most important elements of the image to make them understand what you want to convey. There are no colors, so the look is essentially guided by the composition of the photo.”                                            

The “artistic nature” of the streets of Cote D’Ivoire guides so much of Diallo’s work. Witnessing moments in those streets and snapping the perfect photo to encapsulate it is essential to street photography. For Diallo, the most important part of street photography is not getting in the way or influencing the content of the photo. “It’s more natural when it’s not prevented,” he said. On becoming a photographer, he told me that he wanted to “immortalize strong moments in images.” On this, he has definitely succeeded. 

When asked what it is like to be a photographer in Cote D’Ivoire, Diallo said the best part of the job is the encounters he has every day on the job. Although he works alone, he never truly feels this way. “Whether it is his clients, his models or his admirers, his work will always spark an exchange that will enrich his daily life,” he said. Everyday as a photographer is different, and everyday Diallo meets someone new and forms a new meaningful connection. Photography is such an art form in this way, allowing regular people to form a bond for a moment, and then go their separate ways. Diallo’s work will be on display at the Africa Foto Fair in Abidjan, Cote D’Ivoire until the exhibition’s end on December 17, 2023. 

Hannah J Langenfeld

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Lago Aubin: "Why Couldn't I Be The One To Be Different"

By Hannah J Langenfeld  Contributing Writer, Africa Foto Fair 

Born in 1996, artist Lago Aubin grew up in Côte d’Ivoire with family members who were albino. Aubin watched his little sister be judged by society because she was albino and he would often ask himself ‘Why couldn’t I be the one to be different?” Later, when doing his exhibit for Africa FotoFair, Aubin’s personal experience of living and witnessing ‘other’ became the inspiration for his photo series ‘The World of Albinos.’ 

Aubin said that the purpose of his AFF Photo Series is to help represent the Albino population of the Ivory Coast and show the public that they are “human beings who breathe, who are happy, and who share joy.” 

Aubin started in advertising and was recruited to work under Aziz Touré at his communications Agency after being a finalist in the Grand Creative Tournament competition. Touré acted as a mentor for Aubin, who said that he hopes to be just as impressive one day. Aubin said that it can be difficult and expensive to make a living as an artist, but he knew in his heart that despite being a reserved person he wanted to connect people through his photography. 

At this moment in time, Aubin said that there is so much division in his country and around the world so he wants his photography to help inspire people to love despite humanity’s differences. 

“We are the same. Whether you are white, Black, or Brown – we are one person. We all have the same blood according to us, it’s a red blood that flows in us,” Aubin said. “If we destroy ourselves, we will pay for the planet, we lose human beings, and everything will go up in smoke.” 

Aubin said that when viewers look at his photographs, he hopes that art acts as a mirror for themselves and raises awareness about the struggle of the albino people in Africa. In a tender moment of conversation, Aubin shared that he wants to help the Albino community because there is great socioeconomic inequality and that people deserve to afford something small such as sunscreen. 

“My photography exhibit is to raise awareness about love and raising awareness about albinos. It’s not necessarily telling people that they have to accept them, but we must be able to love ourselves. I want people to remember it’s a message and it’s about the personality of the Albinos. Ask, “Am I in the same situation as this person and what would they do if that person were in my place?” 

Anybody who has ever felt different or been in a position of weakness who wanted to shout and stand up for themselves or their family members will be immediately touched and emotionally enthralled with Aubin’s eye-opening and beautiful Africa Foto Fair exhibit, “The World of Albinos.” 

Siddhi Mahatole

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Maingaila Muvundika: "I'm Breaking Down Things At Different Stages Of Life"

By Siddhi Mahatole, Contributing Writer, Africa Foto Fair.

Maingaila Muvundika’s lens captures a striking image at the Africa Photo Fair (AFF) in Abidjan, a testament to the captivating narratives woven through his photography. In a single frame, a young black woman proudly flaunts her natural afro hair, a bold celebration of identity and self-expression. This arresting visual, among many others in Muvundika’s portfolio, serves as an entry point into a world of exploration, deconstruction, and reflection on the contemporary themes threading through his work.

The current exhibition in Abidjan featuring Maingaila Muvundika’s photography is a timely reflection on the intricacies of our societal fabric. In a career spanning from his early days shaped by familial photo albums in Lusaka, Zambia, to his present standing as a recognized fine art and portrait photographer, Muvundika’s work encapsulates the essence of labor, identity, and the exploitative nature of social institutions. 

The exhibition, aptly titled “A Road We All Take,” unravels the complexities of contemporary Zambian society, echoing globally relevant themes.

Maingaila Muvundika, hailing from Zambia, embarked on his photographic journey influenced by the cherished family photographs his mother captured during his childhood. His informal education in photography, marked by a penchant for self-discovery through online resources and personal experimentation, has molded him into a versatile artist. 

Muvundika’s passion for creating visually compelling images finds its roots in his love for fashion and pop art, evident in the early phases of his career. His work, showcased in platforms like PhotoVogue and i-D magazine, explores themes of deconstruction, learning, and challenging societal norms. 

One standout series, “An Honest Portrayal,” focuses on bringing natural afro-textured hair into the realm of fashion, pushing boundaries and challenging conventional beauty standards.

Talking about his experiences in photography, Maingaila said,“It’s always about learning and breaking those things down that I am encountering as a person at different stages of life.”

Muvundika’s lens doesn’t shy away from confronting political and societal shifts. The 2022 Zambian election proved pivotal for him, sparking a personal and artistic reevaluation. His photography, while not overtly political, reflects a commitment to understanding and dissecting the world around him, a sentiment mirrored in his current exhibition.

Anyone familiar with the challenges and triumphs of navigating societal expectations, as experienced by Muvundika, can readily connect with the profound themes embedded in his work. The exploration of identity, societal norms, and the constant process of learning serves as a universal thread, inviting viewers to reflect on their own journeys in the context of Muvundika’s lens. His lens focuses on capturing the authenticity of an individual without any filters. 

In Muvundika’s own words, “I’m just happy to be part of the Africa Foto Fair. I think it’s a great initiative to show the talent that’s on the continent and around the world and give different African voices a space to show their work and their culture. And yeah, just document what’s happening on the continent. I think it’s really interesting and phenomenal.”

Maingaila Muvundika’s work stands as a testament to the power of photography to document, challenge, and celebrate the diverse narratives that shape our shared human experience.

Moira Rajanary: Documenting The Earth In Crisis

By Siddhi Mahatole, Contributing Writer, Africa Foto Fair.

In the heart of the Africa Foto Fest, a captivating image commands attention—an arresting portrayal of Southern Madagascar, a region grappling with the harsh realities of climate vulnerability and food insecurity. Miora Rajaonary, the visionary behind this evocative snapshot, beckons viewers into a world where the struggle for survival intersects with the resilience of the human spirit.

The work currently on display in Abidjan by Miora Rajaonary is both timely and crucial, delving into the repercussions of climate change on food security in Madagascar. This endeavor marks a pivotal moment in Rajaonary’s photographic journey, which commenced in 2013 and has since traversed the realms of environmental and cultural storytelling.

Miora Rajaonary’s roots trace back to the vibrant landscapes of Madagascar, a place she describes as an “immense privilege” to have grown up in. Her hometown, Antananarivo, reflects the dichotomy of poverty and allure, an experience that continues to shape her perspective.

While her formal education in photography unfolded later in life, at the age of 29, Rajaonary’s connection with the camera dates back to her childhood. Inspired by the likes of Ramilijaona, Malick Sidibe, and Sebastiao Salgado, she embarked on a journey to use photography as a medium for showcasing perspectives often overlooked.

In a nation underreported on the global stage, Rajaonary keenly feels the responsibility of presenting her country authentically. Her approach involves establishing a personal connection with the people she documents, ensuring a mutual understanding that transcends the lens.

The impetus for Rajaonary’s focus on environmental stories, particularly food insecurity, arose during the COVID-19 pandemic. Witnessing the vulnerability of small-scale producers and low-income households to natural phenomena beyond their control fueled her commitment to shedding light on the impacts of climate change.

Her ongoing project, “Kere,” captures the unfolding crisis in Southern Madagascar, where drought and sandstorms have exacerbated food insecurity. The term “Kere,” originally denoting the hunger gap, now embodies a prolonged famine. Through her lens, Rajaonary documents not just despair but also the resilience of a community battling for a sustainable future.

As a National Geographic Explorer, Rajaonary emphasizes that her work is about offering fresh perspectives on environmental issues rather than being influenced by external agendas. She believes in staying true to her style and convictions, contributing diverse narratives to the discourse on Africa’s environmental challenges.

Anyone who has witnessed the impact of climate change on their community can relate to the urgency embedded in Rajaonary’s work. The themes she explores—resilience, despair, and the fight for a sustainable future—are universal, transcending borders and resonating with anyone attuned to the evolving environmental narrative.

In the words of Miora Rajaonary, her project “Kere” is not just a documentation of crisis but a testament to the indomitable spirit of a people oscillating between despair and hope—the most challenging battle they’ve ever faced. Through her lens, Rajaonary implores viewers to confront the question, “How did we get to this point?” and sparks a collective inquiry into what can be done to face the looming challenges of our shared future.

Julia Luce

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Kaishi Chhabra.

Mohamed Ouedraogo: "You Have To Dive Deep Into The Society Or System To Understand It"

By Julia Luce Mouketo, Contributing Writer, Africa Foto Fair.

In the bustling heart of Ouagadougou, beneath the sunbaked sky of Burkina Faso, the weight of granite and dust tell a tale through the eyes of a child. His hands, too small for their burden, lift a stone above his head. 

This image, captured by Mohamed Ouedraogo, is a testament to his journey, from the accidental grasp of a camera to the deliberate focus of a storyteller’s lens. It is one of many on display in Abidjan, each photograph a portal into African lives — but not only.

The exhibition’s timing couldn’t be more pertinent. Ouedraogo’s works reveal untold stories as global attention shifts to resilience and cultural identity narratives. His photographic odyssey, which began in 2006, has matured over the years, morphing from candid street snapshots to profound socio-cultural commentary. His lens has not just captured moments; it has framed history, evolution, and his homeland’s everyday struggle and joy.

Mohamed’s initiation into the world of photography was serendipitous. An encounter with a French photographer sparked an unforeseen trajectory. “I didn’t know anything [about photography],” Mohamed admits, reflecting on his then-budding curiosity that blossomed into a life-defining passion. 

Through two years of formal training at the French Institute of Ouagadougou, he learned to tell stories in images despite the initial skepticism from those around him, who saw photography as nothing more than a passing fancy.

“It wasn’t easy,” he acknowledges, recalling the challenge of pursuing a path less traveled. But he was so passionate that he quit his job and committed himself to pursuing photography. 

Through his art, Mohamed became a chronicler of Burkina Faso’s soul, his pictures a canvas of the social fabric, intricately woven and richly textured.

“You have to dive deep into the society or system to understand it,” Mohamed says, describing his approach to his subjects—not as a distant observer but as an integral part of their world. 

This engagement philosophy has allowed him to capture the essence of his subjects authentically, often turning strangers into friends long before the shutter clicks.

His collaboration with journalists has led him through the corridors of power and the streets of uprising. Most notably, his coverage of the 2014 uprisings articulated the collective cry for change and the fall of a presidency. Mohamed’s artistry has transcended Burkina Faso, reaching an international audience and breaking the barriers of language and locale.

Like the stories he captures, Mohamed’s story doesn’t end here. It’s a continuous journey, an evolving tale of a man whose camera has become an extension of his vision for a world more connected and understood. He plans to expand his reach, tell more stories, capture the pulse of life in other African nations, and continue breaking down barriers with the universal language of imagery.

The exhibition in Abidjan is just one stop in a lifelong expedition, a testament to the transformative power of art and the enduring spirit of the African continent. Mohamed’s legacy, etched in the annals of photographic history, is a beacon for aspiring artists and a reminder that every snapshot has the potential to become a window into the soul of humanity.

Chiara Wettman: Seeing People Who Have No State

By Julia Luce Mouketo, Contributing Writer, Africa Foto Fair 

In the intricate tapestry of human stories, few threads are as invisible yet vital as those of the stateless—people who, stripped of nationality, navigate life outside the boundaries of conventional society. 

Chiara Wettmann, a German documentary photographer born in 1993, has dedicated her lens to bringing these threads into focus, illuminating lives the world often chooses to overlook. Her profound work, particularly the exhibit “Stateless – How Stateless People Face Discrimination in Lebanon,” captures the nuances of existence in the absence of belonging. 

Chiara’s journey to photography was as unconventional as the lives she portrays. Born in Munich, her early years were shaped by the vibrance of India, where her mother, a former Goa hippie and political activist, found solace and purpose. Chiara’s narrative was one of contrasts— from the intoxicating rush of parties to the mechanical symphony of her father’s car garage. She learned about life’s disparities early, understanding that the world is a kaleidoscope of experiences, each with its shade and story. 

Chiara grew up cradled in the duality of cultures and perspectives. Her upbringing was a patchwork of experiences—navigating the colorful tumult of India, the tranquil deserts of Sinai, and the structured life in Germany with her grandparents. This eclectic background became the foundation of her worldview, allowing her to grasp the complex layers of geopolitical and social issues that she would later explore in her photography. 

The camera did not come into Chiara’s hands as a bolt of inspiration but as a gradual realization. During her time in northern Syria, alongside her boyfriend — a Kurdish journalist — she began to perceive photography as an art form and a powerful tool for activism. For Chiara, photography is not merely about the aesthetic of an image but the stories that precede and proceed from it—the history, courage, and struggle that give depth to every frame. 

Chiara’s work is a testament to her belief that photography is a political instrument. Her images are a portal into the lives of those she photographs—be it a young girl in Beirut, her hopeful eyes reflecting at her in a small mirror, or a boy’s innocent embrace of his pet, a moment of joy in a world that has denied him his rights. 

Each photograph in her “Stateless” series is a compelling and rich narrative, inviting the viewer to witness the reality of over 60,000 people in Lebanon who live without the protection of any state. 

Her exhibit does more than showcase photographs; it creates awareness and empowers the protagonists within her work to share their stories. The exposition has traveled from Athens to Barcelona and from Berlin to Paris, each time resonating with different audiences and bringing the issue of statelessness to the forefront of a global conversation. 

Chiara’s recent accolades, including several awards and her finalist position for the World Report Award 2022, reflect her impact. As a member of the Focus Agency since April 2023, she continues to delve into the lives of the stateless in the Middle East and West Africa, a commitment that is both a professional pursuit and a personal crusade. 

Through her lens, Chiara Wettmann not only captures the world but also challenges it. She brings to light the stories that need to be told and the people that need to be seen. Her photography goes beyond the surface, offering a glimpse into the human condition, and in doing so, she moves the viewer to look, think, and care.

Madeleine Sherer

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

Rijasolo: Documenting 'The Sun, The Joy Of Living In Spite Of Scandalous Poverty"

By Madeleine Sherer, Contributing Writer, Africa Foto Fair. 

Rijasolo began his life as an artist when he was young, indulging in his enthusiasm for illustration and drawing comics. “I’d always wanted to be a professional draughtsman, to be a professional illustrator, but the ups and downs of life meant that I was never really able to achieve this dream,” Rijasolo said. “But I’d always had it in my head to concentrate on an artistic career linked to images.” 

He came back to his goal for a career as an artist in the early 2000s, after he gained money to spare on photography equipment. “I practiced photography and lab work compulsively and passionately. I practically fell in love with this art form, photography, instantly, because I felt I had the power to retranscribe reality, to shape it, but above all I had the power to tell stories,” he said. “Photography was a form of self-revelation for me, a love affair that has never stopped to this day.”

Rijasolo said that there were many moments throughout his life that shaped his mind as an artist. “I think it’s quite difficult for an artist to pinpoint exactly which events or moments triggered a change in his or her artistic career,” he said. “I think these triggers inevitably come when you’re mature enough to know how to sort things out, to know how to define what was good and bad in everything you’ve lived through, which people raised you, who made you grow, which moments taught you lessons.” One of those moments was his choice to move to Madagascar.

Rijasolo was born and raised in Strasbourg, France, but Madagascar was his native homeland. Rijasolo said his move there served as one of the many significant milestones in his artistic career. “It was this moment that gave me the desire to be even more of a photographer, to photograph my compatriots, to take an interest in their lives, to try to understand their problems and their joys,” Rijasolo said. “It’s important for me to feel the energy of this country so that I can continue to work.”

In his photo series MALAGASY, Rijasolo attempts to capture the people of Madagascar, in all of their struggles and joy. “I chose these photographs, not because they could correspond to the idea that one also hopes for a country like this one: the end of the world, the exoticism, the sun, the joy of living of the inhabitants in spite of scandalous poverty; but because they can translate a state of mind, my state of mind at this moment when I begin to understand what means to be Malagasy,” Rijasolo said. MALAGASY is an acknowledgement of Madagascar’s socio-political contradictions. The nation is rich in its soil and seas and fauna, and yet most of its people survive on less than a euro per day.

“It’s important to me that my photography generates something for each viewer. I have no intention of taking the viewer by the hand and pointing things out to him or her; my photography should just serve to create emotion, to create well-being, perhaps also uneasiness,” Rijasolo said. “But as I feel that my photographic practice is above all documentary, it’s important to me that the rest of the world should also get an idea of what my country, Madagascar, is like, how people live in it, and I try to do this as honestly as possible.”

Carolina Arantes: "There is A Melting Pot. A Pan-Africanism"

By Madeleine Sherer, Contributing Writer, Africa Foto Fair 

Carolina Arantes’ photo series, First Generation, follows a group of young women and girls who are the first of their families to be born in France, with their parents having immigrated from various countries in Africa. The series aims to capture the nuances that come with being the first.

Much about First Generation demonstrates the reflective relationship between photographer, subject and culture. Arantes spoke about the way she sought to avoid imposing her own cultural biases and understandings on her subjects as a white Latin woman, particularly one who had lived in Europe for so long. Arantes was born and raised in Brazil, moving back and forth between São Paolo and Minas Gerais, never strictly rooted to any one place. It was this unrooted cultural identity that gave her a unique view into the lives of the people in that first generation.

Arantes also said she wanted to avoid a simple, linear narrative with her work on First Generation. Many documentaries choose to follow only a couple of people for a subject, in order to create a story that is clear and easy for audiences to understand. Arantes did the opposite, purposely following many different people for First Generation. She did this specifically because the titular first generation represented many different people, and to focus on only one person and their cultural identity might flatten a highly multicultural story. “I noticed that among the immigrant parents, the Malian mums go together with the other Malian people their age, and that they were immigrants. Same with the Senegalese and the Congolese. But between the first generation, there is a melting pot, a pan-Africanism,” Arantes said. “So I opened the following. Instead of only following one woman or two or three, I opened it to many women and to different religions and origins, searching for this identity that is not defined yet. Because it is French, and it is African.”

One of the photos in First Generation depicts a group of young people gathering for a picnic. It is a deceptively simple scene, but Arantes explained the nuances behind its imagery. “There is a picture of them making a picnic. And it’s not at all a part of African culture. Picnics are very European. Picnics are like, the control of nature, the need of going out from the urban side to nature. So it’s a very European mentality. Not even a Brazilian one. Nature is everywhere, we don’t need to go to nature. And then it’s also African in the sense, because they are together,” Arantes said. “But when you see the pictures, you are thinking, ‘Okay, it’s just young people making a picnic,’ because you are seeing it from your Occidental point of view.”

Arantes also said she wanted to depict the emotional complexities of the First Generation women’s lives without reinforcing Europeans’ preconceived ideas about them. She wanted to reflect their emotional realities without dwelling holistically on tragedy. “How do you tell people that there is poverty without putting in your whole point of view of horror or criticism or judgement?” Arantes said. “So when I did First Generation, I thought, what do I do with melancholy? Because these women, for some of them, there’s a lot that don’t speak the parents’ language, and there’s these moments where they want to have this heart-to-heart talk, and they can’t because they speak French, but they don’t have the parents’ language. And this is super difficult.”

Sara Winick

Studies global trends in journalism at American University in Washington, D.C, USA.

D.C. Photo by Julia Luce Mouketo

LY Lagazelle: Passing On Knowledge To New Generations While Honouring The Ancestors

By Sara Winick Contributing Writer, Africa Foto Fair. 

There is a passage printed beneath a self-portrait of Pascale Heranval that inspired Ly Lagazelle to pursue a career in photography. It reads: Yesterday, I was a batard, today I am part of the most noble elite. I’m an artist.”  

In an interview, the Côte d’Ivoire native described herself as a child of Abidjan, and discussed how one fateful visit to the 2007 Festival of Visual Arts at the Donwahi Foundation triggered her interest in photography.

“I think I’ve always had a feeling for photography,” Lagazelle said, “because as a child we were always confronted with handling photographic film because my mother was a photographer.”

Throughout her career, Lagazelle has traveled around the world to take photos. Whether she’s going through sub-Saharan Africa or Europe, Lagazelle’s passion for capturing humanity through her camera lens shines through in all of her work.

After returning to the Ivory Coast this summer to debut her exhibition “Cord’Âge” at the National Library, Lagazelle said it was “essential” for her to come back home to Abidjan and debut the project.

“After five years away in my country, it was essential for me to come back with the ‘Cord’Âge’ project,” Lagazelle said. “I was revealed to the Ivorian nation as a street art photographer. And to come back with this project, ‘Articulée,’ is about women, their journeys and their victories, exposing them in a subtle, poetic and allegorical way.” 

Following her return to Abidjan, Lagazelle’s work will now be featured in the 2023 Africa Foto Fair. In addition, Lagazelle has also been a featured speaker at the AFF panel discussion “Through the Lens: Exploring Ivorian Photography.”

Pivoting from her focus on “the feminine universe” with ‘Cord’Âge,’ Lagazelle’s Foto Fair exhibition features the war dance performed at the Ebrié Generations Festival. 

The festival is described on the Foto Fair website as “an annual celebration deeply rooted in the culture of the Ebrié people in Côte d’Ivoire,” and as an opportunity to “pass on knowledge, traditions, and values to new generations while honoring the ancestors.” 

Lagazelle said that when it comes to her own history and and events that have shaped the themes present in her photography, there’s such an abundance to choose from that she’d “rather summarize” her answer. 

“The events that have had a concrete influence on my direction — in relation to my work — stem from my experience during my travels in different countries,” Lagazelle said. On the topic of paying tribute to Afro-descendants in her work, Lagazelle said that “simply being a victim of racism” has shaped themes in her photography as well.

Despite the challenges Lagazelle has faced, her perserverance and love for humanity is evident in each and every photo she produces. 

Whether she’s capturing a moment of pure joy, pain, or something in the middle, anyone can relate to the emotions that shine through in her photography, and see that beneath our skin, we are all human.

“Through art,” Lagazelle said. “You can really express your feelings and transcend a person’s soul.” 

Dr. Natalie Hopkinson

"

Dr. Natalie Hopkinson is a writer and Associate Professor of Media, Democracy and Society at the American University in Washington, D.C. She is the author of three books, a freelance contributor to the New York Times, Slate, and The Guardian, and former staff writer, editor and columnist at the Washington Post, The Root, and Huffington Post. “A Mouth is Always Muzzled,” her book about art and social change set mainly in her parents’ native Guyana, South America, was longlisted for the 2018 PEN America Diamondstein-Spielvogel Award for the “Art of the Essay.” She earned a bachelor’s degree in political science from Howard University and a Doctor of Philosophy in journalism and public communication from the University of Maryland-College Park.

Dr. Hopkinson, who had previously visited Abidjan to engage with the Africa Foto Fair, played a pivotal role in fostering this educational connection. Her dedication to supporting the festival’s mission to bridge Africa and the world was instrumental in creating meaningful partnerships, particularly in the realm of education. The Africa Foto Fair seeks to strengthen ties with higher education institutions worldwide, offering platforms for youth engagement and global storytelling through photography.

 

© Tsoku Maela

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