Okechukwu Nwafor
Biographic Data
| ID | 195996 |
|---|---|
| NAME | Okechukwu Nwafor |
| GIVEN NAMES | Okechukwu |
| FAMILY NAME | Nwafor |
| SIGNATURE | NWAFOR O |
| AFFILIATIONS | Wesleyan University |
| ORCID | 0000-0002-4539-8863 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Santu Mofokeng: Texts, ruins, and shadows
Tragedy of the Nation in Ndidi Dike's State of the Nation
All photos by Olushola Otori, © Ndidi DikeNdidi Dike's exhibition State of the Nation aptly captured the ailing state of Nigeria since independence from British colonial rule in 1960. Defined by its unstable sociopolitical and economic system, Nigeria materialized in Dike's exhibition as a tragic entity where political gladiators collectively ravaged the nation's resources. Held from February 3-8, 2016, at the National Museum, Onikan, Lagos, Nige…
New Online Histories from Memorial Portrait Photographs of Nigerian Nationalists Posted on Social Media
Social media photographs are powerful tools for articulating various forms of identities and selfhood. However, literature on African photography has paid little attention to a specific genre of social media images: memorial photographs. In this article, I examine how memorial portrait photos of Nigeria’s nationalists shared on three Nigerian Facebook pages (“Nigeria Nostalgia Project 1960-1980,” “Tudun Tsira,” and “Asiri”) generate massive onlin…
Photographing the Igbo Funeral: The Materiality of its Performance
This essay is a re-engagement of my visual odyssey, verbal dialogues, texts, and proceedings that I have undertaken during participation in multiple burials and funeral events in past years in southeastern Nigeria. Responding to the emergent demands of communal and social responsibilities, it is the result of a gradual, thoughtful process that I explored while going through my photographs, diaries and interviews. I thought that scholars of funera…
The Slave Ship and Badagry in Ndidi Dike’s ‘Waka-into-Bondage: The Last 3/4 Mile
In 2008 Ndidi Dike, a Nigerian artist, held an exhibition titled ‘Waka-into-Bondage: The Last 3⁄4 Mile'. Curated by Bisi Silva, this exhibition, which responded to ongoing events between 2007 and 2008 as part of the Democrazy series curated by the Center for Contemporary Arts (CCA) in Lagos, also served to mark the 2007 bicentenary of the abolition of the slave trade by Britain. The exhibition depicted the dangerous itineraries that characterised…
A Class of Their Own: Newspaper Obituaries and the Colonial Public Sphere in Lagos, 1880–1920
From the 1880s, obituaries of Africans and European colonial officials became a frequent genre in Lagos newspapers. This article examines obituary notices in seven Lagos newspapers to understand how print publications and the next of kin who commissioned obituaries used commemorative practices to frame colonial relations and reflect on imperial expansion. Revisiting Jürgen Habermas’s notion of the public sphere, I argue that colonial newspapers i…
Effectiveness of nudges as a tool to promote adherence to guidelines in healthcare and their organizational implications: A systematic review
Chike C. Aniakor: The Community and a Congregation of Figural Elements
Beyond Borders: Global Africa
September 01 2019 Beyond Borders: Global Africa Beyond Borders: Global Africa curated by Laurade Becker A. Alfred Taubman Gallery, University of Michigan Museum of ArtAugust 11–November 25, 2018 Okechukwu Nwafor Okechukwu Nwafor Okechukwu Nwafor is a University of Michigan African Presidential Scholar (UMAPS) where he is in residence as a 2018–2019 University of Michigan ASC/University of the Witwatersrand WiSER Mellon Postdoctoral Fellow on Phot…
A Nomad's Harvest , Iziko South African National Gallery (Isang), Cape Town March 5–July 9, 2014
The Fabric of Friendship: Aso·Ebìand the Moral Economy of Amity in Nigeria
In this article, I seek to problematize prevailing views of what is known as aso. ebì in Nigeria, which places emphasis on solidarity and conviviality. In its most common import, aso. ebì refers to uniformed solidarity dressing worn by friends and family members to distinguish themselves from the rest during important social events such as weddings, street parties, birthday parties, among others. Aso· ebì is both well-known among the Yoruba and o…
Of Mutuality and Copying: Fashioning Aso Ebi through Fashion Magazines in Lagos
In Nigeria, what is known as Aso Ebi has become one of the most powerful elements for understanding the city's sartorial practices and visual economy. Aso Ebi is a common Yoruba phrase meaning, “uniformed solidarity dressing.” In this article, I argue that, while Aso Ebi is a consequence of what I call Lagos cosmopolitanism, its fashioning is largely tied to a dialogue between photographers, fashion magazines, vendors, and tailors in urban Lagos.…
The spectacle of aso ebi in Lagos, 1990-2008
This article deals with a cultural practice known as aso ebi in urban Lagos, Nigeria. Aso ebi refers to uniformed dress worn by friends and family members during social events in Nigeria. The article looks at aso ebi as a cultural practice, originally of the Yoruba, which has been absorbed into Nigerian society such that it is now seen as a national culture by many other ethnic groups in Nigeria. Part of the argument of this article is that throu…
The Fabric of Friendship: Aso·Ebìand the Moral Economy of Amity in Nigeria
In this article, I seek to problematize prevailing views of what is known as aso. ebì in Nigeria, which places emphasis on solidarity and conviviality. In its most common import, aso. ebì refers to uniformed solidarity dressing worn by friends and family members to distinguish themselves from the rest during important social events such as weddings, street parties, birthday parties, among others. Aso· ebì is both well-known among the Yoruba and o…
The spectacle of aso ebi in Lagos, 1990-2008
This article deals with a cultural practice known as aso ebi in urban Lagos, Nigeria. Aso ebi refers to uniformed dress worn by friends and family members during social events in Nigeria. The article looks at aso ebi as a cultural practice, originally of the Yoruba, which has been absorbed into Nigerian society such that it is now seen as a national culture by many other ethnic groups in Nigeria. Part of the argument of this article is that throu…
A Class of Their Own: Newspaper Obituaries and the Colonial Public Sphere in Lagos, 1880–1920
From the 1880s, obituaries of Africans and European colonial officials became a frequent genre in Lagos newspapers. This article examines obituary notices in seven Lagos newspapers to understand how print publications and the next of kin who commissioned obituaries used commemorative practices to frame colonial relations and reflect on imperial expansion. Revisiting Jürgen Habermas’s notion of the public sphere, I argue that colonial newspapers i…
Chike C. Aniakor: The Community and a Congregation of Figural Elements
Of Mutuality and Copying: Fashioning Aso Ebi through Fashion Magazines in Lagos
In Nigeria, what is known as Aso Ebi has become one of the most powerful elements for understanding the city's sartorial practices and visual economy. Aso Ebi is a common Yoruba phrase meaning, “uniformed solidarity dressing.” In this article, I argue that, while Aso Ebi is a consequence of what I call Lagos cosmopolitanism, its fashioning is largely tied to a dialogue between photographers, fashion magazines, vendors, and tailors in urban Lagos.…
The spectacle of aso ebi in Lagos, 1990-2008
This article deals with a cultural practice known as aso ebi in urban Lagos, Nigeria. Aso ebi refers to uniformed dress worn by friends and family members during social events in Nigeria. The article looks at aso ebi as a cultural practice, originally of the Yoruba, which has been absorbed into Nigerian society such that it is now seen as a national culture by many other ethnic groups in Nigeria. Part of the argument of this article is that throu…
Of Mutuality and Copying: Fashioning Aso Ebi through Fashion Magazines in Lagos
In Nigeria, what is known as Aso Ebi has become one of the most powerful elements for understanding the city's sartorial practices and visual economy. Aso Ebi is a common Yoruba phrase meaning, “uniformed solidarity dressing.” In this article, I argue that, while Aso Ebi is a consequence of what I call Lagos cosmopolitanism, its fashioning is largely tied to a dialogue between photographers, fashion magazines, vendors, and tailors in urban Lagos.…
The Fabric of Friendship: Aso·Ebìand the Moral Economy of Amity in Nigeria
In this article, I seek to problematize prevailing views of what is known as aso. ebì in Nigeria, which places emphasis on solidarity and conviviality. In its most common import, aso. ebì refers to uniformed solidarity dressing worn by friends and family members to distinguish themselves from the rest during important social events such as weddings, street parties, birthday parties, among others. Aso· ebì is both well-known among the Yoruba and o…
A Nomad's Harvest , Iziko South African National Gallery (Isang), Cape Town March 5–July 9, 2014
Beyond Borders: Global Africa
September 01 2019 Beyond Borders: Global Africa Beyond Borders: Global Africa curated by Laurade Becker A. Alfred Taubman Gallery, University of Michigan Museum of ArtAugust 11–November 25, 2018 Okechukwu Nwafor Okechukwu Nwafor Okechukwu Nwafor is a University of Michigan African Presidential Scholar (UMAPS) where he is in residence as a 2018–2019 University of Michigan ASC/University of the Witwatersrand WiSER Mellon Postdoctoral Fellow on Phot…
Chike C. Aniakor: The Community and a Congregation of Figural Elements
Effectiveness of nudges as a tool to promote adherence to guidelines in healthcare and their organizational implications: A systematic review
The Slave Ship and Badagry in Ndidi Dike’s ‘Waka-into-Bondage: The Last 3/4 Mile
In 2008 Ndidi Dike, a Nigerian artist, held an exhibition titled ‘Waka-into-Bondage: The Last 3⁄4 Mile'. Curated by Bisi Silva, this exhibition, which responded to ongoing events between 2007 and 2008 as part of the Democrazy series curated by the Center for Contemporary Arts (CCA) in Lagos, also served to mark the 2007 bicentenary of the abolition of the slave trade by Britain. The exhibition depicted the dangerous itineraries that characterised…
A Class of Their Own: Newspaper Obituaries and the Colonial Public Sphere in Lagos, 1880–1920
From the 1880s, obituaries of Africans and European colonial officials became a frequent genre in Lagos newspapers. This article examines obituary notices in seven Lagos newspapers to understand how print publications and the next of kin who commissioned obituaries used commemorative practices to frame colonial relations and reflect on imperial expansion. Revisiting Jürgen Habermas’s notion of the public sphere, I argue that colonial newspapers i…
Tragedy of the Nation in Ndidi Dike's State of the Nation
All photos by Olushola Otori, © Ndidi DikeNdidi Dike's exhibition State of the Nation aptly captured the ailing state of Nigeria since independence from British colonial rule in 1960. Defined by its unstable sociopolitical and economic system, Nigeria materialized in Dike's exhibition as a tragic entity where political gladiators collectively ravaged the nation's resources. Held from February 3-8, 2016, at the National Museum, Onikan, Lagos, Nige…
New Online Histories from Memorial Portrait Photographs of Nigerian Nationalists Posted on Social Media
Social media photographs are powerful tools for articulating various forms of identities and selfhood. However, literature on African photography has paid little attention to a specific genre of social media images: memorial photographs. In this article, I examine how memorial portrait photos of Nigeria’s nationalists shared on three Nigerian Facebook pages (“Nigeria Nostalgia Project 1960-1980,” “Tudun Tsira,” and “Asiri”) generate massive onlin…
Photographing the Igbo Funeral: The Materiality of its Performance
This essay is a re-engagement of my visual odyssey, verbal dialogues, texts, and proceedings that I have undertaken during participation in multiple burials and funeral events in past years in southeastern Nigeria. Responding to the emergent demands of communal and social responsibilities, it is the result of a gradual, thoughtful process that I explored while going through my photographs, diaries and interviews. I thought that scholars of funera…
Santu Mofokeng: Texts, ruins, and shadows
Art (9 works) · African history and culture studies (8 works) · Sociology (8 works) · History (7 works) · Political science (6 works) · Anthropological Studies and Insights (5 works) · Law (5 works) · Law (4 works) · Politics (4 works) · Visual arts (4 works)