Africa
‘Africa Fashion’ Exhibition Hit Brooklyn Museum With New Designers, Unique Textiles
A mannequin stands with head tilted, a knee jutting from the deep bias chiffon and woven fabric hemline of Papa Oppong’s Takari T, a T-shirt worn as a dress from the Ghanaian-born designer’s celebrated 2021 Yopoo collection, which evokes a Ghanaian woman’s life from birth to marriage to death. A “Ghana Must Go” bag — the ubiquitous blue, white and red reusable bags that have come to symbolize the forced migration of millions of Ghanaians from Nigeria — sits on the floor next to the mannequin.
It’s one of two looks from Oppong included in the Brooklyn Museum’s iteration of “Africa Fashion,” the blockbuster exhibition that opened last summer at London’s Victoria and Albert Museum, and which runs Friday through Oct. 22 in New York.
“I can’t believe this is my work,” muses Oppong, as he raises his hands to his cheeks. “It doesn’t seem real. Coming from Ghana, I dreamed of creating work that could be this accessible. So this,” he says, spinning around to take in the work of fellow designers on display in a large central gallery, “is truly a dream come true.”
Like many of the additional designers included in the Brooklyn Museum exhibit, Oppong’s pieces evoke the heritage but also the political and socioeconomic realities of the African diaspora; from political satire and adherence to traditional weaving, hand-dyeing and beading techniques to collaborations with other African artists, from illustrators to weavers to photographers and musicians.
Organized thematically, the exhibition features garments, textiles, photography, books, music and catwalk footage from more than 40 designers and artists from 20 of Africa’s 54 countries, including pioneering 20th-century designers Kofi Ansah (Ghana), Naima Bennis (Morocco), Shade Thomas-Fahm (Nigeria), Chris Seydou (Mali), and Alphadi (Niger) in the “Vanguard” section. “The Cultural Renaissance” section explores the independence era, from the 1950s through the 1990s, a period of dramatic political, social and cultural upheaval reflected in the Pan-African fashion and art scene. “Politics and Poetics of Cloth” surveys the rise of Indigenous cloth as a political act; textiles from the museum’s Arts of Africa collection complement the V&A’s wax prints, commemorative cloth, àdìrẹ, kente cloth and bògòlanfini. “Capturing Change” chronicles the independence years through artists such as Seydou Keïta (Mali) and Malick Sidibé (Mali), from the museum’s collection, as well as fashion photography by James Barnor (Ghana). “Cutting Edge” is organized around concepts including “Afrotopia,” “Artisanal,” “Co-creation,” “Provocation,” “Minimalist,” and “Mixologist” and showcases a new generation of fashion designers and creatives, including South Africa–based designer Thebe Magugu, winner of the 2019 LVMH Young Fashion Designer Prize. “Through the Photographer’s Lens” examines the power of contemporary photography with a series of images of intricate African hairstyles from Nigerian photographer J.D. ‘Okhai Ojeikere, and work from New York native Kwame Brathwaite, the father of the 1970s “Black is Beautiful” movement who died last April. The exhibition concludes with “Global Africa,” which explores how the digital world accelerated the expansion of Africa’s influence in the fashion industry.
Photographer J.D. ‘Okhai Ojeikere’s images of African hairstyles are among more than 50 additional items from the Brooklyn Museum’s collection.
Additional new contemporary pieces also include Brother Vellies designer Aurora James’ Mother Nature gown with a raffia skirt and basket bodice, which the Ghanaian-Canadian designer wore to the 2019 Met Gala; a basket bag from Sudanese-American designer Eilaf Osman; and a shirt and skirt ensemble from Studio One Eighty Nine that features a pineapple husk belt and dried raffia straw hat.
“Haute couture, notions of the handmade and luxury, slow fashion, using dyes or materials that are non-invasive to the environment, this conversation around sustainability has always been part of the African continent,” says Ernestine White-Mifetu, the Brooklyn Museum’s Sills Foundation Curator of African Art, who adapted the exhibition with Annissa Malvoisin, the museum’s postdoctoral fellow in the Arts of Africa.
“And the contemporary designers from the continent have continued those traditions while taking the making and design of African textiles to a new level that’s extremely exciting,” continues White-Mifetu. “And this is an opportunity for audiences in North America to get to know what that looks like.”
The exhibit includes more than 50 items from the museum’s collection, including Egyptian jewelry from B.C.E. through 1st century C.E. and 19th and 20th century jewelry from Niger, Nigeria, Ghana, Ethiopia, the Democratic Republic of Congo, Burkina Faso. Many of the items have not preciously been on view. (The museum’s African galleries are currently undergoing a major renovation with a reinstallation slated for 2025.)
“African regions and culture and art isn’t stuck in a specific time period,” says Malvoisin. “The African fashion scene has always been vibrant, even 3,000 years ago. It was really important for us to include our collection because our collection highlights the cultural continuity and technological and manufacturing production that has continued for thousands of years and which are still being used today by the designers featured in the show.”
The contributions of African-born designers is already obvious in the fashion industry, but the exhibit is arguably the first comprehensive recognition of that legacy.
“We do fashion shows a lot [at the Brooklyn Museum], but to focus on African fashion in an expansive way, and to bring something like this to North America and in New York, which is one of the fashion capitals of the world, is really important. These shows are quite commonplace for European and North American designers,” says Malvoisin, invoking the Brooklyn Museum’s recent retrospectives of Christian Dior and Thierry Mugler. “This is placing African fashion designers on the same level as all of these other luxury fashion houses and designers. I feel like it’s just the beginning. Perhaps this will also lay the foundation and groundwork for something like that happening for an African fashion designer.”
Standing in the exhibit’s large central hall, Oppong — dressed head-to-toe in black Balenciaga, right down to his kitten-heeled shoe socks — takes in the designs from his contemporaries. “I know so many people in here,” he says, raising an arm toward a mannequin draped in Christie Brown’s She is King gold and black gown.
“I did art direction at Christie Brown for a year,” he says. “I love Kenneth Ize, Imane Ayissi. This hall is just magical.”
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Alice B. Otchere is a native Houstonian and was raised in Houston’s Fifth Ward. She never thought of herself as a philanthropist. After high school, she attended the University of Northern Iowa, and along the way received Business School Certifications from the University of Michigan and the University of Texas. She established herself in Houston and developed a longstanding and successful career in Human Resources, at all levels through executive levels. Otchere visited Accra, Ghana in 2019 after connecting with her sons’ Ghanian family. The family welcomed her and her sons with open arms. While touring the country, she visited Sagyimase, the village which the family called their “home village”. She observed that there were no libraries in the area for the school children and others in the community of villages.
After visiting Ghana and returning to the United States, Otchere established the non-profit Literacy for Life (www.literatelife.org) in September 2019. She has received tremendous financial support from her immediate family, including her family in Ghana who donated the land. In addition, she received support from friends and Port City Chapter (TX) Links, Incorporated sisters by hosting fundraisers and receiving donations from many donors who appreciate the value of her commitment to share blessings with those in need. She also contacted the pending Consul General of Ghana in Houston to advise him of her plans. He was delighted to hear about a Houstonian engaged in humanitarian efforts in his home country.
Ms. Otchere returned to Ghana and Sagyimase in January 2020 to announce to the family and the village community her plans to build a library. While there, her desire and plans to build a library were confirmed. She saw the local village school and recognized it was underserved. She asked one of the teachers if they had a library. There were a few books, and the bookcase was dilapidated. As an avid reader, Ms. Otchere wanted to do something to ensure the schools, the students and all who lived in the area would have access to a library. She committed to do her part to work towards building and operating a Library in Sagyimase. 2020 offered challenges with the COVID pandemic; the air space in Ghana was closed and travel into the country was prohibited. But 2020 offered opportunities to work with the General Contractor, Architect and Project Manager to layout the plans for the library.
In September 2021 Otchere returned to Ghana to break ground for the library in Sagyimase, Ghana! Since that time, the project has been on-going, and the Project team has been successfully meeting construction milestones. The library is scheduled to open and begin operations October 16, 2023,
When asked what her family takes away from this experience, Otchere says, “you don’t have to be a millionaire to help a village”.
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CAPE TOWN (Reuters) – South African prosecutors on Friday significantly increased the number of charges they are bringing against Rwandan ex-police officer Fulgence Kayishema, who is wanted internationally for suspected participation in Rwanda’s 1994 genocide.
On the run for two decades, Kayishema was arrested on May 24 under a false name on a grape farm in South Africa where, according to a prosecutor, refugees working there gave him up.
He now faces 54 separate charges in South Africa relating to fraud and immigration offences, up from five previously, prosecutors spokesman Eric Ntabazalila said outside a Cape Town court.
Kayishema had been a fugitive from justice since 2001, when the International Criminal Tribunal for Rwanda (ICTR) indicted him for genocide for allegedly ordering the massacre of 2,000 people hiding in the Nyange Catholic Church.
He denied any involvement during a court hearing on May 26, though said he was “sorry” for the 1994 killings.
South Africa’s National Prosecuting Authority (NPA) alleges that Kayishema used a false identity to apply for asylum and refugee status in South Africa. Kayishema has not responded in court to the South African charges.
The case was adjourned to June 20 to allow Kayishema’s defence team to consult, at which point he could apply for bail.
Some of the local charges could see Kayishema imprisoned for up to 15 years, said Ntabazalila.
Kayishema is also expected to face extradition to Rwanda to be tried over the ICTR genocide indictment, but those proceedings have yet to begin, Ntabazalila said.
An estimated 800,000 ethnic Tutsis and Hutu moderates were killed during Rwanda’s genocide, orchestrated by an extremist Hutu regime and meticulously executed by local officials and ordinary citizens in the rigidly hierarchical society.
Kayishema’s arrest left only three fugitives indicted by the international tribunal whose whereabouts remain unknown.
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The United Nations has joined the US in suspending the delivery of aid in Ethiopia, plunging the humanitarian situation in the country into even deeper uncertainty.
The US Agency for International Development stopped distributing food after an investigation showed supplies from international donors was being diverted or sold. The UN’s World Food Programme said in a statement on Friday it “will temporarily halt food aid assistance in Ethiopia” while it rolls out safeguards and controls to ensure its food “reaches targeted, vulnerable people.”
The decision could impact more than 20 million people already affected by violence and climate change in the Horn of Africa nation that’s emerging from a two-year civil war.
“After a country-wide review, USAID determined, in coordination with the government of Ethiopia, that a widespread and coordinated campaign is diverting food assistance,” a USAID spokesperson said in an emailed statement on Thursday. “As a result, we made the difficult but necessary decision that we cannot move forward with distribution of food assistance until reforms are in place.”
A probe over the past two months found that donor-funded food had been re-purposed and sold at private markets and in some cases exported abroad, documents seen by Bloomberg show.
The scheme was allegedly orchestrated by federal and regional government entities in Ethiopia, as well as private grain and flour traders. It also benefited military units nationwide, according to the documents.
Spokespeople from the Ethiopian government and the National Disaster Risk Management Commission of Ethiopia didn’t respond to emails and calls seeking comment.
But in a joint statement with USAID, Addis Ababa said it would address “deeply concerning revelations of food aid diversion in Ethiopia.”
The US and Ethiopia “are conducting investigations so that the perpetrators of such diversion are held to account,” according to the statement.
Read more: The Two-Year Conflict That’s Torn Ethiopia Apart: QuickTake
Last month, the WFP paused food distributions in the northern Tigray region, the epicenter of the war, after finding evidence of significant aid sales in local markets.
Police in Ethiopia last year arrested Mitiku Kassa, the former head of the national disaster commission, for alleged corruption.
The allegations could affect debt relief negotiations the government is holding with creditors, including the US, under the Group of 20 Common Framework, and come as the nation faces a shortage of foreign exchange.
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