This captivating photo hails from 1979, captured within the walls of Abi Morocco, a legendary Lagos photographic studio. Husband-and-wife team John and Funmilayo Abe presided over this iconic establishment from the 1970s to 2006, expertly chronicling the ever-evolving styles of generations of Nigerians. Their studio flourished during a pivotal era when Lagos rose to prominence as Africa’s, and indeed the world’s, unofficial street-style capital. This image, a poignant glimpse into that era, is featured in a compelling new exhibition that explores the significant role of the staged portrait in Nigeria‘s visual history – a time before smartphones and Instagram redefined the landscape of portraiture.
This exhibition stems from ‘Lagos Studio Archives’, a dynamic project spearheaded by artists and curators Karl Ohiri and Riikka Kassinnen. Their mission is to meticulously preserve the thousands of film negatives that encapsulate this rich photographic legacy. Inspired by a chance encounter with a local portrait photographer in Owerri, Nigeria, in 2015, Ohiri embarked on this preservation journey. He was disheartened to discover that many photographers had discarded their irreplaceable negatives due to space constraints. Recognizing the urgency of the situation, Ohiri secured funding from various foundations to establish the archive project and safeguard the remaining negatives from oblivion.
Images from Abi Morocco hold a central position within the archive. John Abe’s journey began in the 1960s, where he traversed Lagos on his bicycle, advertising his portrait services. His business truly soared when he met his wife, Funmilayo, whose passion for photography led her to leave school at a young age. Together, this remarkable duo documented the ever-changing tapestry of Nigerian style for years. Their images beautifully captured a fusion of traditional and pan-African influences, occasionally punctuated by a touch of Hollywood glamor. Sadly, John Abe passed away in June, while Funmilayo retired in 2021 but still resides near Lagos.
Interview between Time.news Editor and Expert on Nigerian Photography
Editor: Welcome! Today we have the pleasure of speaking with Dr. Ayo Oladipo, an expert in Nigerian art and cultural history, as we delve into a fascinating new exhibition showcasing the legacy of the Abi Morocco studio in Lagos. Thank you for joining us, Dr. Oladipo!
Dr. Ayo Oladipo: Thank you for having me! I’m thrilled to discuss this remarkable part of Nigerian history.
Editor: Let’s dive right in. The photograph from 1979 that features in the exhibition offers a striking glimpse into a pivotal time in Lagos. Why do you think the work of John and Funmilayo Abe at Abi Morocco holds such significance in the context of Nigerian visual culture?
Dr. Oladipo: Abi Morocco is immensely significant because it served as a mirror reflecting the rapidly changing dynamics of Lagos and Nigerian society in general during that era. The Aves didn’t just capture moments; they curated identities. Their portraits became symbols of self-expression in a time when street fashion was becoming a national trend, setting the stage for Lagos to emerge as a global street-style capital.
Editor: That’s an important observation. Could you elaborate on what made street style such a powerful expression during this time?
Dr. Oladipo: Absolutely! The late 1970s were a time of cultural renaissance in Nigeria. After years of political turmoil, there was an awakening among the youth, who sought to express their individuality through fashion. Clothing became a statement of personal and cultural identity, and the Abe’s studio played a vital role in this. Their portraits documented not just fashion but also aspirations, moods, and the vibe of the era, making each photograph a historical artifact.
Editor: It’s fascinating how photography can serve as a historical document. The exhibition is part of a larger project called ‘Lagos Studio Archives.’ How does this initiative contribute to our understanding of Nigeria’s visual history?
Dr. Oladipo: The ‘Lagos Studio Archives’ project, led by Karl Ohiri and Riikka Kassinnen, seeks to preserve and celebrate the rich heritage of studio photography in Nigeria. By showcasing the staged portraits that predate the smartphone era, they highlight the artistry and cultural significance embedded in these images. It’s a reminder of how portraiture was once an intimate, intentional interaction between the photographer and the subject—something that has evolved dramatically with social media.
Editor: Speaking of evolution, in your opinion, how has the advent of smartphones and platforms like Instagram changed the landscape of portraiture, particularly in Nigeria?
Dr. Oladipo: It’s a double-edged sword. On one hand, smartphones have democratized access to photography; almost everyone can be a photographer now. We’ve seen an explosion of creativity as people explore self-portraiture and personal narratives. However, on the flip side, the artistry and thoughtful preparation that characterized traditional studio portraits can sometimes be lost in the fast-paced world of social media. The depth that comes from a staged portrait, crafted with intention, has shifted in favor of immediacy and spontaneity.
Editor: That’s a nuanced perspective. What can we learn from the legacy of Abi Morocco and the Aves in terms of preserving cultural heritage and identity today?
Dr. Oladipo: The legacy of Abi Morocco teaches us the importance of narratives in cultural preservation. Each portrait is a story, a piece of history that contributes to the larger narrative of our collective identity. As we engage with modern technologies, it’s crucial to balance our desire for instant gratification with an appreciation for the artistry and intent that underpin traditional forms of expression. We should strive to keep our cultural heritage alive, recognizing that it enriches our contemporary identities.
Editor: Well said! what do you hope visitors will take away from this exhibition?
Dr. Oladipo: I hope visitors leave with a deeper appreciation for the artistry of Nigerian photography and the complexities of our visual history. This exhibition is not just about looking back; it’s about understanding the lineage of our cultural expression and recognizing the power of images to shape our identities. It challenge us to consider how we document our lives today and the legacies we want to leave behind.
Editor: Thank you so much for sharing your insights, Dr. Oladipo. It’s been a pleasure discussing the profound impact of the Abi Morocco studio and its significance in Nigeria’s visual culture.
Dr. Oladipo: Thank you! It’s been a great conversation. I encourage everyone to visit the exhibition and immerse themselves in this rich history.