Behind the Scenes with Ofoe Amegavie

More than a year ago, Ofoe Amegavie set out to document the lives of the people of Azizanya and Kewuno, a fisherfolk close to Ada-Foah on Ghana’s coast about 100km East of Accra.

His particular interest as a photographer and visual storyteller in these communities is anchored in his own family history. The family has been living in Ada-Foah for decades.

Since a few years, Ofoe has been observing some of the challenges the communities have been going through – related to the impact of environmental conditions and tourism – which have become a major focus of his photography.

He started talking to the people about their daily lives and how they deal with challenges such as land loss and floods due to coastal erosion or expansion of touristic activities.

He discovered that despite all hardships, these are highly resilient people who try to continue to live in harmony with nature and their spiritual ancestry.

He discovered women being at the forefront of sustaining and nurturing their families by working several jobs side-by-side, from selling in the market, to running local businesses, to catering and taking care of their loved ones and community members.

He discovered proactive individuals who engage in protecting, preserving and restoring their environment together with local organisations, for example through re-planting of mangroves, the ecosystem that is key in the survival of the coastal towns, or through beach clean-ups.

He discovered a wealth of knowledge in the elders who carry in themselves the history and the spiritual wisdom of generations.

He discovered local youth groups advocating and fighting for their land and thus their livelihood.

He discovered that everyone across generations plays an important role in this tight ecosystem between sand and water.

More than one year ago, he walked about the communities of Azizanya and Kewuno, envisioning possibilities to amplify the voices and stories of the people dear to his heart. He had collected many of them, and hundreds of photographs started filling up his archive. He felt it was time to bring these stories back into the communities.

The right occasion presented itself with the Asafotufiam festival, the annual celebration that attracts thousands of visitors from across Ghana and beyond to come to the otherwise quiet and peaceful ocean towns.

He dreamt up and realised a photo installation that drew inspiration from the fisherfolk. He printed his photographs – black and white portraits and scenes of daily life – on fabric usually used for flags. With the help of his friend Moza, a young fisherman from Kewuno, the flags were mounted on coconut trees in the community. A local tailor sewed some flags together into abalas, a shed the fishermen use for shelter from the scorching sun when mending their nets or taking a rest from the hard labour. And in the fashion of local advertising through posters, the attention of festival visitors was drawn to the instillations in an invitation to make their way to the communities to not only watch the installations but also to witness first-hand the “unique situation of the people of Azizanya and Kewuno, as we see them today and as their future is uncertain,” in the artist’s own words.

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Ofoe exploring the mangroves around the Volta Delta

One year on, Ofoe has collected more stories and wisdom through immersing himself more in the community life and activities. Stay tuned, as he continues to explore life “Between Sand and Water” as a fellow of the World Press Photo’s West Africa Visual Journalism Fellowship.

Remember Me

An art project by Francis Kokoroko and Rania Odaymat (Beyond Collective) with 12 women at Nsawam Prison in Ghana, and an example for the power of the creative process

When you look at the 12 portraits taken by photographer Francis Kokoroko of lifers of the Nsawam Prison in Ghana, you see 12 strong, powerful women. What is even more powerful is the story behind those 12 portraits. They are the result of a collaborative and participatory multi-arts project: Remember Me was conceived by artist and stylist Rania Odaymat and photographer Francis Kokoroko, both members of the Accra-based Beyond Collective.

Remember Me — or ‘Kae Me’ — gives 12 women a voice — and a face — that they would otherwise not have.

Throughout 2018, Francis and Rania have visited the women at Nsawam Prison several times to organise workshops, each with a different focus, including making collages, which allowed each woman to express her own views in her own aesthetics; and photography, during which they discussed the power of image-making, and got the women to take photos with instant film cameras.

Initially, the women were skeptical, as usually nobody cares about what they think. “Our face is our shame,” they would say. But throughout the process it became clear that the women longed to be remembered.

“These women suffer from extreme marginalisation by Ghanaian society and their own families, who, in most cases, completely erase them from existence. The impact of their isolation and rejection on their self-worth is significant; many expressed doubts that their thoughts and opinions could be of interest, or of value,” explains the website of the Fair Justice Initiative, the NGO that facilitated and supported the workshops.

A 2016 UN Human Rights Assessment in Ghana identified the prison population as one of four groups most at risk of not having their human rights recognised, and identifies the “need to improve prison conditions with a view to enhancing the fundamental human rights of its citizens.”

In such a context, practicing art and allowing for creative expression can be particularly important and powerful, says Rania, who works as a creative therapist. Similarly, Francis explains that he was keen to create an environment that would allow the women to unleash their creativity and imagination, even only for a short amount of time.

The prison context made it difficult to execute a creative project: Rania and Francis met many obstacles on their quest to allowing each woman to create their own portrait. The women were not allowed to possess their own photograph. During the first photography session, the team didn’t receive the official permit to photograph on time, so the women were only allowed to take photos that wouldn’t show their faces.

“This act of disembodying each woman did not disempower them. Their identity is still distinctly marked through their bodies despite the shame and concealment projected onto them. They resist through thoughtfulness and grace,” states the Beyond Collective’s “Make Be” catalogue. “Make Be” is the title of the Collective’s art exhibition which took place in October 2018 in Accra, and which included the “Remember Me” project as one of eight works showcased.

Following several visits of the Nsawam Prison, eventually, the artists were given a two-hour slot for a portrait photography session. The seemingly impossible task was realised thanks to the support of the Fair Justice Initiative, and make-up artist Sandra Don-Arthur whom Rania and Francis brought on board.

“The women from Nsawam prison do not wish to be reduced to the stigma of a label. They asked to be seen as “same” — worthy and beautiful. They each picked elements in their look and styling that told a story of their hidden sense of self and identity — dreams, aspirations, aesthetics etc, thus collaborating in the creation of their final portraits,” says Rania.

Seeing the final 12 photographs displayed at the Beyond Collective’s “Make Be” exhibition, and understanding the story behind them, showed the huge impact of the project.

Thanks to Rania and Francis, Mary, Esther, Ama Y, Lamisi, Agnes, Talata, Zelia, Akosua, Ama A, Abena, Salamatu, and Adwoa have a face again. And the project doesn’t end here. The artists are committed to continuing their collaboration with the Fair Justice Initiative, to give the women a space of creative expression, a “creative escape,” as Francis says, the artists’ way of granting them their human rights that they are entitled to as prisoners too.

All photos by Francis Kokoroko, text by Juliane Reissig

The text first appeared on www.nukustudio.org.

Francis Kokoroko is a creative and photojournalist and photo educator based in Accra. He has a keen interest in documenting the ever-evolving cultures and everyday life on the African continent. He uses his images to communicate a personal message, and believes that emotion is the most important element of any picture. He is part of Beyond Collective and Nuku Studio, and co-organised the first Nuku Photo Festival and the Portraits Ghana Photo Prize.

Rania Odaymat is an artist, stylist, creative facilitator and curator. She is one of the founding members of the Beyond Collective, a Ghanaian non-governmental organisation whose aim is to promote creative awareness and education, as well as facilitate artistic exchanges and collaborations. She is also a trustee of The Fair Justice Initiative.

Behind the Scenes with Ruth McDowall

Arriving by plane in Tamale already suggested the dryness – much more than during the last trip to the North two months prior, in December. Harmattan was still in full swing in the beginning of February, the air was so dry that we could feel it when breathing, and on the skin. I accompanied New Zealand-born, Ghana-based photographer Ruth McDowall on a trip for her next chapter of her ongoing research project entitled “Fulani in Transition”.

The day in Tamale was an off-day, a sort of transition and acclimatisation day, before we headed further north to Walewale, about one hour and a half north of Tamale.

We went around Tamale by moto, with Ruth’s friend Adi who studies Tourisms, and works as a tour guide. The three of us fitted comfortably on his moto. Traffic in Tamale is dominated by yellow-yellows, and motos. Seeing women with their babies in the back on a moto is as common as the okada boys in the south. It is busy, but the busyness feels different, quieter than Accra. 

We visited the Nuku Studio exhibition “Northern Ghana Life” at what is to be become Tamale’s Centre for Photographic Research. Seeing the exhibition with Ruth was interesting, as she knew the project very well, and has followed it, knows about its issues and challenges.

Christine, a Maltese gallery owner and art enthusiast who has been volunteering with Nuku since the Nuku Photo Festival in 2018, opened for us. She told us that artist Ibrahim Mahama will open a cultural centre, art gallery and private studio in Tamale next month, in March 2019 –today known as the Savannah Centre for Contemporary Art (SCCA). It sounded like an interesting time for Tamale’s cultural and art development.

We closed the day with a sunset rooftop bar drink, and the moto ride felt very magical, with the haziness of harmattan, the streetlights, the mosques we passed…

The hotel Moonlite in Walewale was quiet, the room dark, cool, and dry. At 10am it is already hot. We know that the rhythm of the next days will be different. We will get up very early, before sunrise, to get the bike to the Fulani settlements, ca 30 minutes outside of Walewale, so Ruth can get her shoots done by 10am. It will be too hot to move afterwards. 

I was thinking about my best use for the next days, and what I wanted to get out for myself. Recent encounters and developments make me think about different options to work with photography, but not as a photographer. I find the way people tell and discover stories through photography very interesting, and feel I want to be part and support such processes. Maybe this is a test ride – how can I support Ruth in telling and developing her Fulani story? Watching her work in the next days would be interesting and inspiring. I decided to observe, collect information, take behind-the-scenes shots, record sounds (maybe) and small videos (maybe), help take notes of camera settings, document… I also wanted to take photos for myself, and benefit from Ruth’s access to this world. 

I also decided to take time to write. I never do, and have struggled to write for personal purposes – or maybe it was more about finding inspiration, muse, and time – and possibly the combination of those. Being here, being slow, being away from the daily hustle and everyday life, might be a good setting.

We also had the chance to talk intensively about Ruth’s Fulani project. I learnt a lot about the life and lifestyle and struggles of the Fulani in Ghana, and the two families Ruth is working with.

Ruth focuses her project on climate change driven migration and lifestyle changes amongst nomadic, pastoralist Fulani communities. Because of a steady decrease in rainfall, Fulani communities from Burkina Faso or Northern Ghana need to move further south to find water and grazing. In the worst cases, they’re forced to settle or move to cities to work as traders. Ghana’s population growth has led to an increase in farms and small villages, some of which are in areas where Fulani communities used to relocate to, to water their cattle during dry season. In the dry season, water shortages can also create conflict with local communities.

Miftau, Ruth’s friend and our guide, is one of the many children of one of the families Ruth is working with. He was chosen to be educated. He speaks English, and now lives in Accra, where he has a small shop.

Our daily schedule was to visit two settlements of two different families.

One settlement is of a family from Burkina Faso who had come to Ghana some three years earlier, but still seeing Ghana as a temporary settlement. The challenges they face are multiple: in Burkina Faso, there is not enough water for the cattle, and in Ghana, they face challenges with the local farmers. The family consists of about 10 men and 10 women and 10 children of various ages. They set up huts made of straw, their settlement looks quite permanent.

The women are usually separated from the men. They curiously watched us from the distance as Ruth took her portraits of the elders. A small girl was always around and showed a particular interest in what was going on. From Ruth’s experience from the past, the women were said to be too shy to be photographed. But this time, we could clearly see their curiosity. Eventually they were happy to have their portrait taken, as long as we went by ourselves, without the men, without the translator. 

This encounter was definitely one of my highlights, as it was very unexpected. The little girl took my camera, and I showed her how to use it. She helped us break the ice with the rest of the group. They had fun peeking through Ruth’s large format camera. The more time we spent, the more they opened up, and all wanted their photo taken. And if I ever need a young talent in the north, I know where to find her.

The second family is Ghanaian and has settled fully just outside of Walewale. Despite the permanent settlement for the elder, women and children in the village, the boys live the nomadic life and take care of the family’s cattle for up to five months during the dry season. The boys are between the ages 10 and 25, and rotate between the bush and the family settlement. When they are in the bush, about 20 of them at a time, life is rough, they don’t have much shelter, it seems, but they live in tune with nature and their cattle, and in peace. The know each animal’s name and their different characters; the sleep, cook, and pass time under the trees, in between taking the cattle to the water sources. There is a daily routine under the hot sun and on the dry soil.

Ruth uses her large format camera for this project. I find it particularly fitting as it seems to mirror the patience required from her subjects in navigating their lives and uncertainty of their future. Where will they be next year? Will she meet them again? How will they cope with the challenges posed by climate and change?

Ruth has been nominated one of the World Press Photo Foundation 6x6 Southeast Asia and Oceania Talents, amongst other for this project. A first selection of photos from the ongoing project has been published on the WPP website as well as on Ruth’s personal website.

Documenting history through photography

Pictures help us understand history and culture. Photographer Francis Kokoroko, who facilitates the Lensational Ghana workshops, explained the importance of photography in documenting history to the six young women and girls who joined our training programme in Ho in 2016:

“How are you documenting your own people? You are recording history for the next generation. Photography empowers you; it makes you more intelligent because you look at your surroundings differently.”

In September 2017, we used the occasion of the annual Yam Festival in Ho in the Volta Region for an outing, and an opportunity to practise the skills the young photographers had learnt so far.

The Yam Festival is one of many cultural celebrations taking place all over Ghana throughout the year. Such events often celebrate harvests and agriculturally and culturally important commodities. Yam is a root vegetable, and one of the main staple crops in West African, and in Ghana, as in other neighbouring countries, it is eaten cooked, boiled, or fried. Boiled yam that is pounded is called fufu, and traditionally eaten with soup.

“Why is the Yam Festival being celebrated?” was what we asked ourselves before we started our photographic exploration. Felicia, 14, said that many stories were circulating about the origins of the Asogli Yam Festival that takes place in Ho every September.

For the Lensational students, the Ho Yam Festival was an opportunity to rediscover their city’s and country’s history, as well as to document it through photography.

Our challenge for the day was thus to find out why the cultivation of yam is being celebrated, and to document the festival for future generations.

One story we heard, was that the cultivation of yam among the people of Asogli started when a hunter found the tuber in the forest. He hid it, and when he returned, it had grown much bigger.

The Festival is also an occasion to thank God for the harvest and to offer prayers for good health and prosperity. It is said that the celebration originated in Togo and was brought into Ghana by the Ewe people.

The event was a rich cultural display. History was celebrated in a colourful street parade of Chiefs and Queen mothers and their people, moving through the streets of Ho, the capital of the Volta Region. It ended with a Grand Durbar at Ho’s Jubilee Park, with drumming and dancing. Neighbouring tribes also joined the festivities.

The broad variety of traditional Kente cloth was an explosion of colours. It invited locals and visitors alike to discover the rich Ghanaian culture that is kept alive through festivities such as the Yam Festival.

Photographers indeed play their part in keeping history alive. The feelings related to cultural celebration, gratitude for the harvest and nature, importance of chieftancy and religiosity, are what our photography students captured and brought to life.

The girls definitely lived the moment with their subjects; they even got so absorbed by the experience, that they stopped the parade for a moment when they photographed a Queen mother. They were forgiven, as they were by far the youngest, and almost the only female photographers documenting the event.

I was reminded of a quote by Magnum photographer David Alan Harvey: “Don’t shoot what it looks like. Shoot what it feels like.” Their photographs invite us on a visual journey through the Asogli Yam Festival — as told by them.

For almost two years now, Lensational has been working with these six young women and girls, aged 14 to 26, to offer them an extra-educational activity that they would otherwise not have access to.

It has been very exciting to see the girls’ enthusiasm for their newly discovered medium, especially as the photography scene in Ghana is still very male dominated.

We are grateful to receive the continued support of Francis Kokoroko in this journey towards what might become the new generation of female photographers.

You can purchase the photographs in this essay on our gallery. The revenues will go back to the photographer, and to Lensational’s training programmes in Ghana.

Text by Juliane Reissig

Photographs by Antoinette Dumegah, Bernadette Young, Felicia Donkor, and Florence Ama Geyevu in Ho, Ghana.

The story first appeared on Lensational’s Medium blog.

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In Ghana, Lensational is collaborating with photographer Francis Kokoroko, and KickStart Ghana, a UK and Ghanaian registered charity/NGO based in Ho, that works to enhance educational opportunities for Ghanaians. Lensational has been working with eight young women, some of whose work is showed in this essay, since October 2016. This programme has been managed by Juliane Reissig.

Lensational’s joint mission with KickStart Ghana is to offer photography workshops as an extra-curricular education opportunity, to enable its female students to tell their own stories through photography, and ultimately, to encourage them to stay committed to their educational aspirations.