Postcolonial Perspectives: Etinosa Yvonne on Identity and Trauma in Nigeria
Fiona Wachera
Nigeria has a long and complex history involving its diverse and vibrant culture. There is a rich tradition of resilience and a globally influenced (and influential) cultural renaissance. There is also a strand of cruelty, marked by periods of political instability, ethnic conflict, and religious extremism. Etinosa Yvonne’s “It's All in My Head” is an ongoing, research-based multimedia endeavor that delves into the coping strategies employed by survivors of terrorism and extreme instances of conflict, crisis, and cruelty in Nigeria.
The world of visual storytelling in Africa is often dominated by international photographers visiting the continent’s countries to photograph distressed communities. Their work is showcased in exhibitions abroad, gaining international recognition and acclaim. However, these exhibitions rarely make their way back to Africa, limiting the exposure of African communities to the narratives and perspectives presented about them. Etinosa Yvonne, a National Geographic Explorer, is a visual storyteller who breaks this mold. Her work is deeply rooted in the communities she engages with, centering their voices rather than exploiting their experiences.
In "It's All in My Head," – initiated in 2018 and funded with support from the National Geographic Society – Etinosa collaborates closely with survivors of terrorism and violent conflict in Nigeria, giving them the power to shape the narrative and ensure their stories are shared within their communities. To achieve that, her videos, photographs, and audio interviews are distinguished by a deliberate visual storytelling approach, wherein symbolism takes center stage to unveil survivors' inner thoughts and emotions. Drawing inspiration from the double exposure technique, she adeptly fuses images to craft poignant metaphors that profoundly connect with her interviewees.
Etinosa’s use of symbolism becomes apparent as she juxtaposes carefully chosen locations with her interviewees and integrates them with their portraits. In one of the photos, Etinosa captures the essence of forgiveness through the imagery of a cascading waterfall. "I was wondering what is forgiveness and how can I show it and I ended up thinking about a waterfall and how the water washes over," she explains. The flowing water symbolizes forgiveness's cleansing and healing power, while the survivor's portrait conveys a sense of endurance. For Etinosa, "portraiture was not enough. I need you to see what is happening in their state of mind."
Etinosa's multimedia project expanded into the production of intricate glass sculptures. "I wanted something that was not just 2D. I want people in the exhibition to feel their presence, and that's where I got the idea to include sculptures in the project." The glass sculptures embody the emotional depth and psychological impact of trauma. The translucent forms floating in the glass, reminiscent of specific memories of anguish, evoke feelings of fragility, vulnerability, and sapience. The sculptures' intricate details and delicate color contrast with the raw, often harrowing experiences of the survivors they represent.
Representing trauma takes a toll on the storyteller. Unearthing the threads of pain, shame, fear, and trauma in their various manifestations meant Etinosa felt a profound weight. “If I go crazy, I cannot work,” she said. As she immersed herself in the layered project, she recognized the importance of mental fortitude and the need to shield herself as the storyteller when documenting stories of deep trauma caused by violence in Nigeria.
“It’s All In My Head” has been showcased in recent interactive exhibitions across Nigeria. Its impact is now being extended to town hall meetings, where Etinosa facilitates discussions that bring together victims, family members affected by accusations of witchcraft, and community members holding a variation of beliefs, all open to learning from each other. The conversation also involves local government officials and legal and medical practitioners. Etinosa emphasizes, "The goal is to educate whenever possible. The outcomes remain uncertain, but if even ten individuals take away a worthwhile message, we consider it a meaningful accomplishment."
Etinosa Yvonne's work consistently challenges societal stigmas and promotes more inclusive understandings of gender roles and power dynamics. In her recent documentary project, "Unboxed," she delves into masculinity, exploring the perceptions and experiences of Nigerian men who prioritize their appearance. Through interviews and compelling visuals, Etinosa sheds light on the deeply ingrained cultural norms that define masculinity in many African communities, often leading to negative perceptions and stigmatization of men who deviate from these rigid expectations.
“Unboxed” highlights the significant consequences that these gender norms have on men's social standing, personal well-being, and mental health. Nigerian men who engage in meticulous grooming practices may face ridicule, harassment, and even violence, leading to feelings of isolation, anxiety, and depression. This suppression of personal expression and self-discovery can stifle men's ability to explore their true selves and embrace their individuality.
Etinosa's work is a powerful reminder of the importance of challenging harmful gender stereotypes and promoting more inclusive understandings of manhood. By encouraging open dialogue and celebrating diverse expressions of masculinity, we can create a society where all human beings feel empowered to express themselves authentically without fear of judgment or discrimination.
Etinosa Yvonne is an inspiring photographer and visual storyteller who uses her art to challenge societal stigmas and promote understanding and empathy through projects like “It’s All in My Head” and “Unboxed.” Etinosa's dedication to exploring the complexities of trauma, masculinity, and societal expectations in Nigeria is truly commendable. Through her lens, she captures the nuances of individual experiences and advocates for empathy and understanding. As we celebrate her journey, it's evident that Etinosa Yvonne's work continues to spark meaningful conversations and challenge perceptions. Her artistic endeavors stand as a testament to the transformative power of storytelling and the potential for increased collaboration within the community.
Photo credits: Etinosa Yvonne, It's All In My Head, and Unboxed. Digital Collage. Courtesy of the artist.
This is the second article in the series Postcolonial Perspectives, written by Fiona Wachera, showcasing new photography from Africa — photography and visual stories that foreground embodied experiences and challenge colonial histories.
The first article was Postcolonial Perspectives: Ngadi Smart’s Curiosity.
Wachera is a media strategist and the photo editor at Everyday Africa. Their work blends hands-on design for photo, art direction, and media project management, utilizing varied communication mediums, design disciplines, and research techniques. Wachera has collaborated with storytelling teams at the World Press Photo Foundation, Black Women Photographers, Code For Africa, the ICRC, and others.
Incredible and inspiring work.