[h=1]
Why Africans Are Not United[/h] [h=2]October 9, 2014 Nigerian photographer and filmmaker Taye Balogun came to Kenya to create a collection of images that would artistically expose some of the most critical challenges facing the region right now. The result is the provocative Why Africans Are Not United[/h]
"Religion Propaganda". Nigerian photographer and filmmaker Taye Balogun believes one of the instruments that have been used to keep Africans divided is religion. Photo by Mutua Matheka; concept by Taye Balogun
If you think youll get a definitive answer when you go to see the provocative photographic exhibition conceived by Taye Balogun and photographed by Mutua Matheka titled
Why Africans Are Not United, then think again.
The title of the exhibition, which is currently on a Pan African tour, certainly suggests that viewers of the show will be let in on the secret of why there seems to be so much disunity among Africans, at the local, regional and continental levels.
The images reflect Baloguns commitment to using photography to talk about what African Union is not
However, the exhibition raises many more questions than answers to this salient topic, which is actually what the designers of this unusual and even surreal collection of images meant to do.
Calling their photographs conceptual rather than surreal (which they also are!), Taye Balogun believes people need to understand the problems confronting the continent first before they can seriously start to problem-solve. It was he who came to Kenya with the concept in mindto create a collection of images that artistically expose some of the most critical challenges facing the region right now.
Married to an East African whom he met back home in Nigeria, Balogun ostensibly arrived in Kenya to see his Tanzanian wife who works for Oxfam in Nairobi. But the Pan African photographer and filmmaker couldnt help looking for fellow artists who might be keen to collaborate with him, using their art to probe pertinent issues and problems plaguing Africa at present.

Education is a Showbiz. Photo by Mutua Matheka; concept by Taye Balogun
He found such an artist in fellow photographer Mutua Matheka, one of Kenyas most renowned image makers. Best known perhaps for his cityscapes, Matheka says he was definitely intrigued with Baloguns critical vision. He was also challenged artistically as they strove to devise images that conveyed concepts that not only raised questions, but at their core also raised issues that are political, economic, religious, psychological and even philosophical.
Unlike photographs that are most iconic when it comes to framing Africa visually, Mathekas and Baloguns images are neither beautifulfilled with wildlife or panoramic landscapesnor empatheticfilled with refugees in flight from conflict, famine or dreaded disease.
The skulls obviously have no capacity to think so who but the white man is left to decide what will ensue at the forum
Instead, they reflect Baloguns commitment to storytelling or using photography (and film) to talk about what African Union is not. There is a hint in the exhibition that the continent is one giant failed state especially as many of the early African freedom fighters were Pan Africanists who believed the region could progress most effectively if it was unified. Instead, Balogun talks about Africa being a disjointed continent.
The photographs are carefully composed and when necessary also photoshopped to convey the specific theme and meaning that the two artists aim to address. Evocative in the symbolic nature of every framed photo, the titles often serve as the easiest way to begin unpacking the messages in each frame.
For instance, titles like
Mental Slavery,
Education is a Showbiz,
Invisible Borders and
Jungle Justice all work as metaphors to compel one to look deeply at each photo. Interestingly enough, each one often has a very personal connection to the artists.
In the case of
Invisible Borders, Balogun recalls the difficulty he had as a Nigerian trying to get into Kenya from an adjacent state. Soldiers at the border informed him that folks from his homeland were banned from entry. The reasons were unclear, even invisible, but they inspired the photograph that features two armed men standing to block passage across an unseen political boundary.

Trade. This photo explains the hurdles Africans put on themselves when trading with each other. Ironically foreign products can be found everywhere in Africa. Photo: Thomas Rajula
Seeing this showcase of images as satirical is another useful way of understanding the mix of irony, humour and pathos thats infused in the images. For instance, a photo like
African Leadership Forum is set in an almost empty classroom with only one white man seated amidst desks topped with dead cow skulls. The skulls obviously have no capacity to think so who but the white man is left to decide what will ensue at the forum. The answer is obvious.
The redemptive feature of the show is the series of quotations by authentic African and Pan African leaders like Nyerere, Lumumba, Biko, Mandela, Sankara and Martin Luther King that are included as way-showers whose wisdom still has validity for Africas future. Mug shots of all these men, including even more controversial figures such as Gaddafi and Haile Selassie are also there with the aim of sharking further discussions about how their vision can be revived and revisited for the sake of rebuilding an authentic African union.
Why Africans Are Not United had its first showing in Nairobi, Kenya,
and is now in Dar es Salaam, Tanzania. After that, it will be seen everywhere from Addis Ababa to Johannesburg and Lagos.