Nigerian Bread Seller Accidentally Photobombs Popstar And Gets Modeling Contract

People say fairytale are just for kids, but when they happen in real life, everyone feels the magic. Recently, English musician Tinie Tempah and photographer and singer Ty Bello were doing a photoshoot in Nigeria when they were accidentally photo-bombed by a bread seller. The catch? The photo was perfect, and Bello was enchanted.

“Who is she? Every one has been asking if this lady is a model… It was just perfect coincidence,” wrote Bello on Instagram. The search was on. 27-year-old Olajumoke Orisaguna, mother of two, was eventually found, but the story doesn’t end there. With Bello’s help, she scored a modeling contract, and was just featured on the cover of This Day Style!

Popstar Tinie Tempah was doing a photoshoot in Nigeria when a bread seller accidentally photobombed the shot

The photographer wanted to find her, but didn’t know who she was

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The photographer wanted to find her, but didn’t know who she was

Then, on February 4th, he finally found her

Meet 27-year-old Olajumoke Orisaguna, bread seller, mother of two

“So I found her …our beauty from the @tiniegram shoot and boy have I got a fantastic story to share with you all”

“Meeting and photographing her has inspired us all”

“We can’t wait for the good that will come to her from all of this to unfold”

Just days later, Orisaguna was on the cover of this magazine!

A real-life fairytale

North Carolina students threatened with suspension for wearing African headwraps

Jamaica Gilmer

A group of black students at the School for Creative Studies in Durham, N.C., could not imagine how much controversy would be sparked when they decided to wear head wraps to class for Black History Month.

Afiya Carter says her 15-year-old daughter and her fellow classmates were threatened with suspension after administrators warned that they were in violation of the dress code.

According to the cited policy, “hats, caps, hoods, sweat bands and bandannas or other head wear worn inside [the] school building” are impermissible, with no exceptions being made for garments worn in with cultural or religious significance.

Monday, parents gathered at the school to chant in protest against Durham County Schools’ dress code policy.

“This is not right. This is not fair. We will not stand for it,” Carter says. “This is about supporting these young people and letting them know that their cultural expression is something to be valued, and value other people’s cultural expressions.”

“It says to me symbolically that our girls — and our boys, as well — have to alter not only their attire, but their whole selves in order to seem less disruptive or offensive,” said Dosali Reed-Bandele, whose daughter was among those reprimanded. “This is utterly ridiculous and I am tired of those messages bombarding our babies day in and day out.”

School authorities are now denying they threatened the students with disciplinary action, and the district says that after meeting with the students, the principal decided to allow the young women to wear headwraps — also known as African geles — as an instructional tool.

Durham County School Superintendent, Dr. Bert L’Homme, responded with the following statement:

“I have heard the concerns of parents and community members who feel our policy prohibiting hats and head wear is too strict or that it infringes on student’s cultural expression.

I understand their concerns and assure them that I will share their thoughts with the committee that is currently reviewing and suggesting revisions to our Code of Student Conduct.

In the meantime, I appreciate both the initiative shown by the young women at SCS and the school’s willingness to give these student leaders an opportunity to incorporate their ideas into a school-wide program. The gele, its history and how to wear it are now part of the school’s Black History Month activities for both middle school and high school students.

I can also tell you that SCS had an extensive schedule of Black History Month programs already. Daily seminars for high school students and other activities in middle school. But after meeting with the young women and incorporating their ideas, they’ve added themed Mondays and a Black History announcement as part of the morning messages. The members of the Young Women of Excellence group will be the ones making those announcements.”

“I hope that my daughter and the other girls learn that you should not alter who you are to fit in or assimilate to society’s so-called standards and that it’s perfectly on point to stand up for what you know is right,” said Reed-Bandele. “It is your birthright to be who the Creator made you to be.”

 

 

 

 

 

MADE-IN-AFRICA: WITH BEAD MAKING, AUTHENTICITY PREVAILS

MADE-IN-AFRICA: WITH BEAD MAKING, AUTHENTICITY PREVAILS


Krobo, Ghana, Beadmaking
Two weeks ago, I shared my concerns about the fate of Ghana’s fabric industry in “Dear Afrocentrists, ‘African Prints’ Are Not From Africa.” This week, I visited one of the most impressive bead-makers in Ghana, Mr. Cedi, to discuss the impact counterfeit beads has had on Ghana’s bead industry. Contrary to my original argument, though, his business has not been affected by imitations.

Compound of Cedi Beads Industry (Krobo, Ghana)

“People who value authentic beads still find their way to us. You came all the way from Accra to visit us because of the worth of our beads,” Mr. Cedi said. “The person I just got off the phone with is coming all the way from Brazil to see our work. Bead making has taken us to all corners of the world, because we maintain our authenticity and continue to innovate our beads.”

Indeed, Cedi Beads Industry is consistently innovating their products; almost all the bracelets I saw two weeks ago were gone and replaced with a new set of unique beads.

Bead making beautifully illustrates Africans’ ability to create valuable ornaments out of waste — in this case, empty bottles. The process starts with a collection of empty bottles that are pounded to powder. The powder is then poured into molds with a small stick in the middle to form a round hole (a passageway for the thread used to turn the beads into necklaces and bracelets). The mold is then placed in a termite soil oven and the powder is melted and molded into beautiful circular beads. A single bracelet takes about 3 to 5 hours to complete.

Beads play a major role in African culture and fashion.

The people of Krobo use them for cultural puberty rites, Queens and Kings wear them to showcase their royal hierarchy, and recently, the new generation of Africans wear them as necessary accessories to complete their fashion statement.

Dziffa Ametam

Being a bead lover myself, I was relieved to learn that in the end, authenticity prevails. You can view our latest collection of beads here.

Dziffa Akua

Dziffa Akua

Dziffa Akua Ametam is an entrepreneur in Ghana who makes authentic handmade products from Africa easily accessible to global consumers through her online market Dziffa.com. She holds a Bachelor’s degree in economics (Magna Cum Laude) from Herbert H. Lehman College of the City University of New York and is a fellow of the Edward T. Rogowsky Program, American Economic Association Summer Training Program, and Yale Global Pre-MBA program.

Hand painted houses of Tiebele, Burkina Faso

By on October 7, 2015 — Hand painted houses are a key part of the Tiebele village, which is found in Nahouri province in Burkina Faso.

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Tiebele is known for it’s homes that are beautifully hand-painted using chalk and coloured mud.

The people who stay in Tiebele are called Kassena and they a part of the Gurunsi ethnic groups. Gurunsi or Grunshi groups inhabit the southern part of Burkina Faso. Wall painting is done by Gurunsi women and this is a tradition that has been passed down for many generations.

Photo: Whenonearth

Photo: Leblogabobo

Photo: Alexander Leisser/ Panoramio

Photo: Rita Willaer

Photo: Rita Willaer

Photo: Leblogabobo

Photo: Leblogabobo

Photo: My little Notebook

Photo: Rita Willaer

Photo: Paronamio

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Photo: Scott Worthington/ Peace Corps/ Year two Volunteer

Poet Passionately Explains Why Ebonics Is The Backbone Of Black Culture

“The native tongue to the underrepresented black American.”

“Ebonics is the official language of the undefined black culture, the native tongue to the underrepresented black American.”

That is what Steven Willis declares in his poem, “Ebonics 101,” which he performed at the National Poetry Slam last month held at at the Nuyorican Poets Cafe in New York City .

Willis explains the cultural significance language has within the black community. In his poem, he uses personal experience and history to teach his audience a lesson on “Ebonics:101.”

The Manhattanville College graduate breaks down how language is an active form of rebellion that can undermine an oppressive and racist system. “Scholars call it African American Vernacular English, but my guys they call it slang, the man calls it Ebonics, I call it America’s Creole,” he said.

In the final words of the poem, Willis reclaims Ebonics to communicate black experiences.

“He will write until the black male is able to live, be, exist. Class dismissed.”

Mic drop.

Yoruba Festival

A Yoruba Festival Tradition Continues: 50 Incredible Photos Celebrating The River Goddess Oshun

Photos by Ife Martins

Held every year in a sacred forest on the outskirts of the southern Nigerian city of Osogbo, the Osun-Osogbo Festival is a two-week-long celebration of the Yoruba river goddess Oshun. The festival, which begins with a traditional cleansing of the town (Iwopopo) and ends in a procession of the people to the Osun-Osogbo sacred grove, attracts attendees from all over the globe.

Among those in attendance this year were Adebayo Adegbembo of the Lagos-based startup Genii Games Limited, and Nigerian street photographer Ife Martins. Together, they set out to document the festival’s worshippers, spectators and tourists alike. “Our objective was inspired by the need to communicate its essence to ordinary people whose interpretation of African traditional festivals and people associated with them is something diabolic and fearful,” Adegbembo told Okayafrica. They began their coverage on Isese Day, a day set aside for traditional worshippers to parade and showcase their faith to the public, and continued the following day during the festival’s grand finale, in which they joined the crowd at the Ataoja Palace in Osogbo waiting for the emergence of the Arugba (votary maid).

Adegbembo elaborated on the festival’s significance in an email to Okayafrica:

“Year after year, the festival receives significant attention from the media to actual worshippers, tourists and spectators. My dad covered the same festival in the early nineties and spoke of a low turnout dominated by local indigenes. However, the festival has since grown to international status in recent years, a possible effect of Susanne Wenger’s works and recognition of the Osun-Osogbo grove as a UNESCO heritage site in 2005. Today, the festival enjoys tremendous support from the government and private sponsors also jostle to liven the annual celebration.

For all that’s said about the declining fate of our indigenous cultures, the Osun-Osogbo Festival gives hope. Its continuous embrace centuries on by the people – old, young, far and wide, worshippers and spectators alike – is further testament to its significance.”

Take a look at the 2015 Osun-Osogbo Festival photographed by Ife Martins in the gallery above. For more, read Adegbembo’s full festival coverage here.

Adebayo Adegbembo is the founder and lead programmer at Genii Games Limited, a Nigerian start-up focused on the development of interactive mobile apps, videos and games around African cultural elements for kids. Follow him on Twitter at@technobayo

– See more at: http://www.okayafrica.com/news/osun-osogbo-festival-2015-photos/#slide1

2ND Annual US/African Cultural Expo & Business Matchmaking VENDOR BOOTHS AVAILABLE

2ND ANNUAL US – AFRICAN CULTURAL EXPO AND BUSINESS MATCHMAKING DAYS WILL BE NOVEMBER 19TH-21ST

SAVE THE DATES!
– 2nd Annual US – African Cultural Expo and Business Matchmaking Days  November 21, 2015
http://www.aftv5.com/usafricabusinessmatchmaking/
“Us-Africa Cultural Expo And Business Matchmaking”
To be Held in Austin, TX on November 21, 2015
At The Asian Resource Center
8401 Cameroon Road Austin Texas 78753

Painting With My Mouth from Malawi

My name is Olushola Anyi, I am from the United States (Austin, Texas). I enjoy writing about interesting individuals, so today I has the pleasure of interviewing Chrisford Chayera who is from Lilongwe,Malawi. I haven’t physically met Chrisford in person but as I was browsing for a location for some of my products I ran across some of his artwork and I was just so fascinated that a person with his disability could accomplish this task so I researched until I found him on Facebook and we began communicating and he was so nice enough to agree to interview with me.

Artist: Chrisford Chayera

Olushola: State your full name
Chrisford: Chrisford Chayera
Olushola: Your age
Chrisford: Now I am 43
Olushola: What is your marital status?
Chrisford: Married with four children, 2 girls and 2 boys
Olusholai: What does your wife do?
Chrisford: Her name is Martha. She does nothing right now but she is my care provider and takes care of all my daily needs. She is a strong woman of God. I love her so much.
Olushola : Lucky woman, for God says a man who findeth a wife findeth a good thing and favor from the Lord.
Chrisford: Indeed that’s the Word of God. No, it’s because I don’t have enough capital to give to her to start a small scale business. She wants to start a business of baking cakes and some vegetables.
Olushola: Chris I respect her as well and I will be praying for you and your family.
Chrisford: Please do so I am in need of your prayers yet my wife is a hard worker and a prayer warrior
Olushola: What did she think about you when she first met you?
Chrisford: She was so excited
Olushola: What made her so excited?
Chrisford: She got a man of her choice
Olushola: What is your profession?
Chrisford: I am just an artist and rely upon the sales of my paintings.  Apart from that I don’t do anything here in Malawi for life is so hard with a family like mine.
Olushola: So, tell me what is your disability?
Chrisford: Both hands and legs are dead so they don’t function and I depend upon my wife for everything like toilet, bathing, etc…
Olushola: She is a blessing. God will reward her. God is using you with your disability as well. May I ask how did you become disabled?
Chrisford: It was polio epidemic, I got paralyzed in 1982 when I was 11 years old.
Olushola: I can relate to that as well because when I was a small girl I had a touch of polio as well. How did you become interested in art?
Chrisford: After I completed my secondary school of education is when the interest of becoming an artist started. I was thirteen years old. There was not any work I could do with the type of disability I have. I had the talent before but nobody showed me how to paint. It’s just my inborn talent.
Olushola: So, what gave you the idea to start painting with your mouth?
Chrisford: Because my mouth was the only organ which was functioning in the whole body.
Olushola: You are a fighter and I admire you for that. There are people who are not disable around the world and have not accomplished what you have. What is the key factor towards your success and determination?
Chrisford: Not me, but God himself because on my own I can’t do anything.
Olushola: You are right with God we can do ANYTHING, but without HIM we are NOTHING.
Chrisford: Indeed there are so many people in the world the secret is hard work and don’t undermine yourself on everything.
Olushola : Even when the struggle and the battle becomes difficult we can’t give up we must look at the solution which is Jesus and not the problem. So, when you meet people, what do they say when they see yo painting with your mouth?
Chrisford: They get amazed so much.
Olushola: Well, it’s not everyday you see someone painting with their mouth. So, how long did it take you to learn this skill before mastering it to perfection?
Chrisford: About 3 years.   Chayera 528064_10150966279603722_2018078316_n
Olushola: Wow, that is determination. What lessons have you learned along the way?
Chrisford: I have learned quite a lot, you need to be a man of ambition.
Olushola: That’s so true if you want something in life you have to be determined and focused as you are doing.
Chrisford: You are right.
Olushola: Where can we purchase your paintings?
Chrisford: In the US there is a friend who assists me to sell my artworks and Facebook. I have a page titled “Chris Art” we can arrange and ship everything.
Olushola: What inspires you to paint various artwork?
Chrisford: It depends on what the customer is looking for.
Olushola: Did you have a role model when growing up? Who inspired you to draw?
Chrisford: No, I didn’t have a role model.
Olushola: Do you have a favorite artist?
Chrisford: Yes, I do but they are very few because each artist has his own style of art.
Olushola: Yes, you are right about that. Is there a certain drawing technique that you use?
Chrisford: No, I mostly use acrylic and oil on canvas.
Olushola: Okay, I understand. Do you have any advise for any young aspiring artist or children getting into the field of art that you are in? Chayera 524543_10151057972723722_1437388556_n
Chrisford: Art is a good career they can venture into it but it needs a lot of dedication and perseverance.
Olushola: Great advice. Thank you for giving me this opportunity to interview with you and again I apologize for taking so long I have really enjoyed this.

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Olushola Anyi is a contributing writer to Ujima Magazine. She will be sharing stories about people from around the world that are doing extraordinary things in their communities.

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