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Managing Multiplicity: Adult Children of Post-Independence Nigerians

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Managing Multiplicity: Adult Children of Post-Independence Nigerians

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"invoked through the Yoruba Nigerian tenet of the good life—owo/money, omo/children, and alaafia/health or peace (Hallgren, 1991)."

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DIASPORIC COMMUNITY, CULTURAL IDENTITY AND THE INTERNET by OLUKAYODE AYANKOJO 

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DIASPORIC COMMUNITY, CULTURAL IDENTITY AND THE INTERNET by OLUKAYODE AYANKOJO 

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Teaching Yoruba to children and young people in London

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An audio excerpt of a conversation between myself and my friend Leia turned visual discussing the visualization of the 2nd immigrant experience.

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"Curated by Michael McMillan, the 1970s front room explores the migrant experience of African-Caribbean families setting up home in the UK in the mid-20th century."

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Curated by Michael McMillan, the 1970s front room explores the migrant experience of African-Caribbean families setting up home in the UK in the mid-20th century.

What's happening

It's Saturday evening and there's a simple 'Saturday Soup' for dinner as everyone has been busy doing their chores to clean up the front room.

After dinner, the teenagers will head to their rooms and listen to Soul Spectrum and Roots, Rock, Reggae on Capital Radio while dressing up for the sound system dance tonight in Dalston.

With little sleep they will be woken early for church. Afterwards guests will be welcomed back to the house for rice and peas with stewed chicken and a glass of the Caribbean soft drink Mauby, while Jim Reeves plays on the radiogram.

Objects to look out for

Radiogram, 1950s

This radiogram belonged to Ivy who came to the UK from Jamaica in 1959.

Ivy and her husband would listen to vinyl records on it, by artists Nat King Cole and Bob Marley, and on occasion pour themselves a Baby Cham or white rum from its drinks compartment.

Crochet doilies, c.1970

Crochet was taught to young women in the Caribbean by Christian missionaries.

The pieces displayed in the room belonged to Michael's Mum, Letha, and family friends Cynthia and Linda, who like many Caribbean migrant women made pieces to supplement their income.

Wall hangings

The room is decorated with religious images and prayers as well as family photographs taken at weddings and special occasions.

A black velour scroll featuring a map of Saint Vincent hangs beside souvenirs brought back from church outings to seaside towns.

Caribbean migration to Britain sees ' arrivants ' (Kamau Brathwaite) establishing homes where they could express their cultural identities and practices. Memory of these spaces brings into being their creativity, cultural and political activism, and survive as living archives.

How Memory Survives is an evolving pamphlet that holds a critical intergenerational conversation between Caribbean and African elders, those born or raised in Britain and their wider communities.

This version [2/2023] explores how memory survives across Caribbean generations through various forms of audio-visual documentation, objects, oral histories, music, home publishing practices, and alternative approaches to making home in different environments.
Credits
Christxpher Oliver (Artist-researcher)

Michael McMillan (Artist)

Veronique Belinga (Producer, Museum of the Home)

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West Indian Front Room | 1970s | Michael McMillan | Museum of the Home

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A front room in 1976 - This Room Through Time depicts a front room from the 1970s

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 Festival of Slaps - Directed and written by Abdou Cisse

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 Festival of Slaps - Directed and written by Abdou Cisse

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"Ade is joining his Nigerian parents for a celebratory dinner at an elegant restaurant in London. But at one point, his mother slaps him hard, to the shock of the other restaurant patrons. The force of the slap brings up memories of Ade's past, of growing up in South London with his immigrant parents, when he and his mom would clash over his happy-go-lucky, free-spirited attitude and lackadaisical attitude to life. But the present-day slap, as well as the flow of memory it releases, makes him reflect on Ade's own parenting of his daughter Emma -- and all the things he learned from his mother."

This comedic short film does a very good and emotional job of encompassing the 2nd generation Immigrant experience of a Nigerian in London. With almost the entire film drawing parallels within my own life. The strong narratives at play here give a insight into the problems faced by 2nd Gen immigrants and their parents.

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A Nigerian mother slaps her son so hard his life flashes before his eyes. | Festival of Slaps

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Audio Reflection text to my methodology of creating tension through imagery.

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Audio Reflection text to my methodology of creating tension through imagery.

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"Adeyemi Michael reimagines his mother’s idea of moving from Nigeria to Peckham in Entitled, a short film about leaving your country of origin. Riding a horse dressed in traditional Yoruba ceremonial wear, Abosede Afolashade, a first generation immigrant, takes to the streets of Peckham."

I originally watched this short film at the South London Gallery exhibition: Lagos, Peckham, Repeat. I was taken back by the cinematography and impactful narrative of the film. From passerby's mixed reactions: shock, confusion to even a Nigerian gesture of respect that all tied in to the root of the visuals.

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All immigrants are conquerors | Entitled by Adeyemi Michael | Short | Random Acts

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Sanjo Lawal - Heavy is the head that wears the crown

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Sanjo Lawal - Heavy is the head that wears the crown

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Hsu, H. (2022) -  Stay true. New York: Doubleday.

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Hsu, H. (2022) -  Stay true. New York: Doubleday.

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"The immigrant's resourcefulness requires an exhaustion of possibilities. You may master tenses and forms, grammatical rules, what passes for style. And yet, consequently, you may struggle to hold a conversation with your grandparents. It's possible they secretly wanted this to happen - a measure of generational progress. The child has learned to speak for himself, but to talk back as well. You write well, not good. The devoted student also internalizes a relationship to the language itself, one in which you remain conscious of your distance from the source, from who draws on this language to mine their authentic self."

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Scaachi Koul - One Day We'll All Be Dead and None of This Will Matter

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Scaachi Koul - One Day We'll All Be Dead and None of This Will Matter

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"Immigrant parents, when they first move to North America, push towards whiteness, towards assimilation, to survive and thrive. Naturally, their children do too for the first half of their lives. This usually tips the other way, but before we're taught anything, we're taught to hide."

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"As first generation diaspora, part of my cultural identity exists as the conglomeration of the Ghanaian influence and values of my parents and immediate family with my first hand experiences of ‘British’ culture. According to Stuart Hall, it doesn’t make me any less Ghanaian if I have spent most of my life in another country and most of my current memories are from living in Britain, “there is no one-size-fits-all cultural identity for all diasporic people” and my cultural identity is a matter of what I am 'becoming' as well as of who/what I am."

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Lo, I - Second Generation Immigrant Struggles pt.4 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.4 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.3 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.3 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.2 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.2 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.1 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles pt.1 [Reimagined by Abi Adebiyi]

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Lo, I - Second Generation Immigrant Struggles

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Lo, I - Second Generation Immigrant Struggles

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"In the academic literature, cultural identity is viewed as a kind of “positioning” rather than a fixed aspect of the self. The identity of second-generation immigrants is plural, fluid, and constantly changing. Your identity is neither rooted in the history of the old country, as with your parents, nor in a purely Eurocentric adaptation to the new country. Instead, you are always in a ‘transition zone’ that feels untranslatable in its complexity."

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The Missing Thread: Untold Stories of Black British Fashion

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Curated by the Black Oriented Legacy Development Agency (BOLD), The Missing Thread explores Black British fashion's evolution from the 1970s to now. Exploring the interplay of cultural, socio-economic, and political factors, the exhibition shines a light on the impact of Black style on mainstream fashion and wider culture. The story is told through four themes - home, tailoring, performance, and nightlife - and is set within a socio-political context, confronting the historical misrepresentation of Black creatives. It spotlights the genius of Joe Casely-Hayford and celebrates contemporary designers, showing just how pivotal a role Black fashion has played in shaping Britain fashion today.

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The Missing Thread: Untold Stories of Black British Fashion

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Art Fund is the national charity for art. Discover more art with a National Art Pass and help us fund the vital work of museums and galleries across the UK.

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Whilst designing for Design Engagement, I began to come across this glyph whilst experimenting with the typography of the cover as well as negative space. By isolating the text in the negative space, changing its orientation and duplicating in the middle: I created a symbol reminiscent of Yoruba sculpture art within my experimentation. Yoruba sculptures are known for conveying ideas and narratives through the figures and symmetry of the pieces.

The form of the glyph resembles a person, with there being a head, torso and legs. I correlated the head to the idea of self or the "ego". The body to outer image and how one expresses themselves externally and finally the legs/feet representing "roots" and heritage from which you came.

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"“This story is for those whose identity falls on a blurry line, for diaspora children who are stuck between two cultures and are learning they don’t have to pick one,” multidisciplinary maker Daveed Baptiste explains of his recent series, “From Haiti to Hood.” A recent Parsons graduate with a BFA in Fashion Design, Baptiste utilizes his fashion and textile design skills to construct sets depicting intimate home environments rich in references to his home country of Haiti. Drawing inspiration from his upbringing in America, his immigration to this land, and the resilience and innovation of the Haitian communities he grew up in, the work draws attention to the dual identities of his experience as an immigrant."

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Headdress by Bámigbóyè of Odo-Owa (Nigerian, c. 1895-1978) | ca.1925. Carved and painted in wood.

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A Master Sculptor of the Yorùbá Tradition

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Nigerian artist Moshood Olúṣọmọ Bámigbóyè

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Nigerian artist Moshood Olúṣọmọ Bámigbóyè

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A talented graduate who I personally that reflectively & sentimentally explores themes of cultural identity and pride.

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Papa Nii Akushey Quaye. Multidisciplinary Artist

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Akala | Full Address and Q&A | Oxford Union

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Evolution of culture within Britain - The stems & parallels it has with the black diaspora.

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A great resource for archived photographs and images of Nigeria from pre-colonial to post-colonial eras.

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-This is Nigeria shown from late 19th century to the 1990s. Click “About NNP” to find out more.…