new submission deadline for mas-q-raid anthology

Ibadan Queers (IQs) and Tantdile Experimenta Lab, invites writers to submit their works for publication in a digital anthology to commemorate the first edition of our festival of arts. The theme for the festival is MAS-Q-RAID.

It is remarkable that despite the real and pressing threat to our lives, queer people living in such a predominantly homophobic state as Nigeria continue to thrive and to insist on our existence. By constantly evolving creative ways of living our truths, we continue to beat all the systems designed to put us down and wipe us out. As the late bell hooks puts it, the essence of ‘queer’ as praxis is of a self ‘at odds with everything around it, and has to invent and create and find a place to speak and thrive and live.’

With MAS-Q-RAID, we aim to explore the different ways we queer people do this, to celebrate the various masks we wear in our daily lives and how we use them to impress ourselves upon the status quo and establish our place in a hateful world.

Submission Guidelines:
This call is for writers from or living in Ibadan.

Please send one short story, essay, or creative non-fiction of no more than 2000 words. For poetry submissions, please send no more than 2 poems in a single document.
Submission must be thus formatted: Times New Romans, 12pt, double space.
Submission must be the original work of the author and must not have been published elsewhere previously. (This includes on personal blogs.)
Submission must be sent to greyatanda@gmail.com as a .docx attachment. The title of your submission should be the name of the file.
The subject of the email should read ‘MAS-Q-RAID Submission’ with the category of your submission in brackets. Eg: ‘MAS-Q-RAID Submission (Poetry)’
The body of the email should include a very brief cover letter with a few sentences introducing how your submission addresses our theme, as well as a short author’s bio.
Deadline for submission is Sunday, 31st of March, 2024. Authors of selected entries will be notified in May.
A stipend will be paid to selected authors upon publication.
Curators: Ayodele Olofintuade, Kehinde Awofeso
Editor: Ijapa O

Call for Submissions

MAS-Q-RAID Digital Anthology

Ibadan Queers (IQs) and Tantdile Experimenta Lab, invites writers in Ibadan to submit 09138073182 works for publication in a digital anthology to commemorate the first edition of our festival of arts. The theme for the festival is MAS-Q-RAID.

It is remarkable that despite the real and pressing threat to our lives, queer people living in such a predominantly homophobic state as Nigeria continue to thrive and to insist on our existence. By constantly evolving creative ways of living our truths, we continue to beat all the systems designed to put us down and wipe us out. As the late bell hooks puts it, the essence of ‘queer’ as praxis is of a self ‘at odds with everything around it, and has to invent and create and find a place to speak and thrive and live.’

With MAS-Q-RAID, we aim to applaud the different ways we queer people do this, to celebrate the various masks we wear in our daily lives and how we use them to impress ourselves upon the status quo and establish our place in a hateful world.

Submission Guidelines:
This call is for writers from or living in Ibadan.

• Please send one short story, essay, or creative non-fiction of no more than 2000 words. For poetry submissions, please send no more than 2 poems in a single document.
• Submission must be thus formatted: Times New Romans, 12pt, double space.
• Submission must be the original work of the author and must not have been published elsewhere previously. (This includes on personal blogs.)
• Submission must be sent to greyatanda@gmail.com as a .docx attachment. The title of your submission should be the name of the file.
• The subject of the email should read ‘MAS-Q-RAID Submission’ with the category of your submission in brackets. Eg: ‘MAS-Q-RAID Submission (Poetry)’
• The body of the email should include a very brief cover letter with a few sentences introducing how your submission addresses our theme, as well as a short author’s bio.
• Deadline for submission is Monday, 29th of January, 2024. Selected entries will be notified in February.
• A stipend will be paid to selected authors upon publication.

Curators: Ayodele Olofintuade, Kehinde Awofeso
Editor: Ijapa O

The Anatomy of Transmisogyny

by Tiwatope Adunni

In 2019 I was at one of my lowest after surviving a motorcycle accident which left me with a fractured limb, and hospitalized for  6 months. This period can be considered a phase of awakening because I had nothing else to do but read and reflect.

Shortly after my recovery came the unfortunate incident with the Nigerian police. I was unlawfully harassed, detained and extorted because I was a non-binary feminine of centre person. A month later, my partner of 4years called off the relationship, he was afraid I was high risk and bait for police extortion and attention.

Then came another traumatic period with members of my extended family, some of whom threatened to kill me. I was saved by my great-grandmother, who took me away from this unsafe situation. Now, my grandmother has always been supportive, she in fact raised me, and believed I am the reincarnation of a daughter that she lost when she was a young mother.

It was during this period that it became clear I wouldn’t survive through my identity and I had nowhere to run to. I had two options to either live or die.

In January 2020, I decided to live, and the only means I could live was to agree with and face my reality as a transgender woman and this led to my medical transitioning.

Before my medical transitioning, I only knew what it means to be a non-binary feminine of centre person who lived 21years of their life in an androgynous body, having to struggle daily with questions from both intimates and strangers about my gender identity and expression. The societal construct of what a man should be and what makes a woman, and also having to publicly carry the shame of my gestures, identification, behavioural and gender expression.

However, in my 3^rd month of medical transitioning, I started to realize who a Nigerian woman is and what a Nigerian woman should be.

Nigerian women, what kind of women are we?

An average Nigerian woman’s idea of femininity is rooted in the ideological alignment of patriarchy and heteronormativity which unfortunately is the definition of “ideal woman” in a main-stream (men-owned) society. In the Nigeria of today, women are perceived to be second class citizens with little to no significant representation compared to men, and with forcefully ascribed provision of free domestic labour and motherhood duties backed up by social institutions and morality that strongly prioritizes ‘man-hood’.

The socialization of the girl in Nigeria is characterized by fragile femininity, subordination, dependency, prioritizing the male identified body. Most Nigerian girls indoctrinated into this oppressive system grow into women who are upholders of the system suiting the patriarchal satisfaction of what a woman should be and women who set to challenge this patriarchal order are harassed, dehumanized, molested and often criminalized.

Toxic masculinity and femininity, the offshoot of misogyny and transphobia

Toxic masculinity is the foundation of toxic femininity that birthed transphobia. In Nigeria, men are programmed to be measured, dominant and violent through which control the society, while women are programmed to be subordinate irrespective of who or what she thinks she is, she is forcefully pressured and gaslighted to be accountable to a man.

Societal norms and values are dictated by men and any form of opposition to their dominant ideology is considered a threat to society.

Toxic masculinity is the enforcement of dominant masculinity that uphold the reinforcement of patriarchal ideology as a tool for gender policing and misogyny. This means that your masculinity is toxic when you violently make your ‘Maness’ (gender) the criteria for your being by creating an institutionalized behavioural attitude and distinctive features of what a man should be. The patriarchal ideology positions what it is to be a “man” by creating gender scripts as traits that reinstate the dominant features of a man. Toxic masculinity is a tool of oppression in a patriarchal and heteronormative state like Nigeria.

Over time unending violence, harassment, exploitation and marginalization experienced by women has forced most Nigerian women into strongly believing the notion of their oppressors and not only do they believe and absorb the unending violence, but women are also used as bait tools of oppression on other women who are not in construct with the features of womanhood in a patriarchal/heteronormative society. This set of women are the dominant women “hegemonic femininity”.

Hegemonic femininity consists of characteristics defined as womanly that establish and legitimate a hierarchical and complementary relationship to hegemonic masculinity and that, by doing so, guarantee the dominant position of men and subordination of women. (Schippers, 2007: 94).

This simply refers to women who uphold the legitimacy of patriarchy and misogynistic rhetoric to instil fear in other women. A typical example would be a light-skinned woman, heterosexual, gentle, obedient, a ‘good cook’ morally virtuous, able to have kids, and able to stay at home to take care of her husband and children in order words “wife material”.

However, toxic femininity is the influential act of gender policing other women to act in accordance to the woman script, heteronormativity that deifies patriarchal power. It is an integral weapon of transphobia, it normalizes the patriarchal notion of CIS genderism, heteronormativity and so gender policing any person that does not fit into the binary.

Your femininity is toxic when you put the validation of humanness and femininity to the test in the hands of men who are ascribed as superiors. In today’s Nigeria, you are nothing if you are dark-skinned, poor, disabled and a WOMAN.

Femininity in Nigeria at the present date is still deemed as less to masculinity. As a result of the unequal gender binary constructed by the state, women are stereotypically perceived as weak, hypersexual, subhuman and objectified as subservient to men. It is believed that women are incapable to be women when they are not at par with the gender script roles instilled in them by the malestream system. The gender roles of a woman in Nigeria are dictated by men just so women can remain incapable, lesser and weak and not be compared to men who are ‘strong’. The patriarchal tool of oppression has kept women in a cocoon that is in turn giving men more power, recognition and dominance leading to continual gender inequality.

‘MISOGYNY in the cis-heteronormative binary is a way to measure masculine power’.

As an indigenous Nigerian transgender woman that is living her reality, my experiences with transmisogyny is usually deliberate act/actions from people towards me make me feel less of myself and less of a “woman” such as misgendering with pronouns, hypersexualized because I am a transgender woman in Nigeria whose identity is only determined by my genitalia and an uncommon fantasy that CIS heterosexual men and women want to explore, I experienced deliberate molestation, abuse, gender and body policing by random Nigerians and a lot more that makes question my safety in both public and private spaces.

We cannot fail to acknowledge the presence of transmisogyny in the LGBTQI+ community as trans and femme bodies are isolated from the benefit of this union.

Tiwatope Adunni is queer, a writer , feminist , ijogbon , advocate for gender diverse and sexual minorities. She is currently the programs director at Queercity Media and Productions

Kindly donate to her gofundme, thanks!

https://www.gofundme.com/f/support-t-survive?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1

Not trans enough, not woman enough

The paradox of existing, the double standard of living

Aside from knowing I was different as a child, I knew there were certain things I wouldn’t be. It’s not because I can’t be, but because I don’t fit the standards, and that has always been my point to rebel. It was always as if we were born into a To-Do list, playing by the rules designed by society to ward us off from being ourselves.

Growing up as an androgynous child, I never really struggled internally with my gender identity despite not knowing exactly what it was. I just wanted to live life. I remember vividly how I would stand in front of my mother’s mirror with her dress and heels on, admiring myself while mentally carving imaginary lines around my body. The most challenging part of my childhood was the constant need to validate my gender identity. I long struggled with gaining social acceptance, as certain masculinity standards and behaviour were expected of me that I couldn’t perform.

I vividly remember when I was 10 years old when my very homophobic and misogynistic uncle badgered me and body shamed me. The only explanation he had for a child with a non-conforming body was to call me GAY, when I didn’t even know what that meant. Some of us wouldn’t be here if our queerness had been treated positively by our parents or more attention was paid to the developmental part of our lives. What gender we were attracted to was more significant than other vital aspects of our lives. I wonder, however, what fear caused a loving mother to send their child away from the safety of home the moment they found out about the deal breaker. I’ve heard parents threaten their children with isolation and conversion practices if they ever turn out to be Queer.

As an asexual and agender trans person who has had the priviledge to medically transition, many people wonder what it is like to be me, tearing up the list and owning up to my true form.

As the years passes, through self-introspection, positive interaction and relationships, I gained a better understanding of myself. I became more positive, political and politically conscious, and I could see beyond the past. I realise “transitioning” is more personal. It extends beyond seeing myself imprisoned in a body I do not want or aspiring to be in one that I want. We all undergo change at different points in our lives, but the difference in time is
a privilege – we all grow. As a transgender woman, transition is more than a journey. It is liberation in every aspect of her.

I live my life based on life-taught lessons and experiences. As I grew older and met other people, applying these lessons and also continuously learning and evolving changed my perspective of life. It made me see myself as I truly am. I had no choice but to love, love myself and build a house for love to blossom. My matrix changed when I began to see myself as truly a minority in a minority.

However, my bargain also grew with me, from the need to constantly validate myself to the struggle to be socially accepted and now the denial of my existence. Whenever people have even the slightest chance, my transness becomes a point of opinion. Regardless of their own gender identity and sexual orientation, their opinion is usually about me not keeping up with the norm and not living up to the demeaning perspective they choose to have against transwomen.

It erases my own experience as an individual, whatever the standard may be. Personally, the base of my transness is freedom and for me to be truly free, rebellion became remedy.

As a woman who lives in a body that breaks binary boundaries, my existence is continually debated. There is the yes that says you do not belong here and the no that says this is where you should be. There is always this constant pressure to validate my femininity as a trans woman and also align my struggles as a woman when in queer affirming spaces. Transgender people do not owe you normalities nor do we owe abnormalities.

Some transgender people do not subscribe to what society deems to be valid explanations for their identities. Our individual understanding of ourselves and circumstances is based on our personal experiences.

Being a person who doesn’t fit into any definition or box, I am constantly in need of doing ten times as much as I can to be truly visible. Since the socially constructed perspectives of what it means to be a transgender woman do not entirely reflect my reality, I am constantly made to question my existence and values.

We must realize that as conscious and evolving creatures, we possess the potential to do many things and to be none at the same time. Therefore, why do we construct standards and try to force everyone to live by the rules? People who reinforce the status quo are rewarded while those who do not are pushed away.

Transgender women do not have to prove their femininity by wearing makeup or glamorous dresses. Gender nonconforming people do not have to prove that they are who they are by getting a septum piercing.

It costs us nothing to acknowledge people in the way they want to be. Literally nothing.

Adunni Tiwatope is a trans/non-binary writer, creative director and storyteller specialising in gender literacy and community management. She writes about sociopolitical and cultural issues that impact the lives of minorities, most especially gender-diverse minorities, highlighting concerning situations while fostering positive visibility. She is the current Programs director at Queer City Media and Production, a community-based advocacy media network and a Research officer at AreaScatterAfrica, a trans research network. Adunni is a multi-talented creative hoping to explore her creativity beyond limits. Adunni is currently spearheading a Transitioning Home housing project designed to support pre-op transwomen to receive housing in their first 3-6 months of hormonal therapy use while they move forward with navigating life, securing employment with community-based network setups and acquiring empowering skills. To support Nigerian Trans Transitioning Home, click on the link below https://t.co/D0RBlsumY3 She believes in a world where minorities are empowered to make change happen.

GENDER IDENTITY THROUGH THE NIGERIAN QUEER LENS

Upon hearing the news of childbirth, the first question many Nigerians ask is, “Is the baby girl or boy?” They rarely consider an in-between or neither, because infants are automatically assigned the gender that matches their sex, expected to identify as this and perform its roles as they grow.

Gender identity is the personal conception of one’s own gender. Although the most common gender identities in the world are boy/man and girl/woman, there are more identities than this binary category covers. Some people grow up to continue identifying as the gender that correlates with their assigned sex, and are called cisgender. Others choose a gender identity different from their assigned sex, and are called transgender. There are people who do not identify as either of the binary, and are referred to as genderqueer or non-binary.

While a doctor can determine and pronounce a baby’s sex, it ought to be up to that child to decide its gender identity as it grows, knows itself intimately, interacts with the world, and discovers different ways it wants to express itself.

In a Nigerian society where gender roles are nearly enforced on individuals right from childhood, there is little to no space for people of a perceived gender to behave contrary to the stereotypes attributed to that gender. Gender expressions are determined by and restricted to sociocultural expectations of what a girl, boy, woman, and man should be; an attempt to step outside of these boxes is attracting an unpleasant attention to oneself.

Despite the laws and hostility hindering the freedom of queer people in Nigeria, some of them are stepping out of the closet regardless and are at their most authentic in safe spaces. Findmymethod.org provides such a safe space for people of all gender identities to interact on their forum from anywhere in the world.

To document experiences of genderqueer Nigerians, I spoke to four of them and asked what it means to identify differently from the conventional gender binary.

Xaron, 18

My pronouns are he/him/they/them. I am a writer, curator, and medical student at a Nigerian university.

I was assigned the boy gender at birth, but I came out as a non-binary in my second year at the University. I have a community of people who support and give me the opportunity to express myself as a queer person and creative, especially in relation to my gender identity. I have only come out to my brother and friends for now, and the reception is encouraging. I haven’t come out to the rest of my family because I’m not sure what their reaction will be- and more importantly, how it will affect me at this point.

I have felt gender dysphoria for the longest time- in my former schools, at home with my parents and in any situation where I had to socialize. I noticed that anytime I was in a social setting, the internal conflict between whom I was supposed to be (a cis boy/man) and who I really felt like inside heightened. In dealing with this, I secluded myself.

Gender identity is a very sensitive and personal issue for people all over the world. And that’s good; I think it’s important that people are being intentional about how the world sees them and how they choose to interact with the world.

The challenges I face as a nonbinary person living in Nigeria are multifaceted; it is hard educating people on my gender identity and the use of my pronouns because not many people understand that here.

Dams, 24

My pronouns are she/her/they/them, but I have been more open to the use of he/him recently.

My pronouns are she/her/they/them, but I have been more open to the use of he/him recently.

I’m Nigerian-American, born and raised on Long Island, New York. I’m a recent college grad who is currently exploring coding and music production.

I was assigned the girl gender at birth, but I’ve always been a bit masculine. After my first breakup, I went through a rough patch where I looked back and couldn’t recognize myself. I didn’t feel like whom I wanted to be, so I reached out to other more masculine presenting and non-binary people and realized I fit better with them. While I was connecting with these people, I ended up with a lot of friends who wanted to or were transitioning. I was confused about whether being masculine meant I was expected to transition or if I was supposed to hate feminine parts of myself.

After shaving my head, I realized I didn’t have to change anything. Somewhere in the process, I realized I can love having a fade and big tits. I can be muscular and wear nail polish. I can shop in the men’s department and wear makeup.

Some of my friends and family know about my gender change, while others don’t. They may not accept it or have a hard time accepting it when they find out, but I don’t care.

Z, 21

I’m comfortable with any pronouns. I use she/her/they/them/he/him, depending on the setting.

I love writing, cooking, fashion, agriculture, dance, and have taken an interest in photography lately.

I think gender identity is deeply complex, and believe the stereotypical binary is woefully, laughably inadequate.

I have been genderqueer since I was little. I was often mistaken for a boy, probably because I never made my hair. This stopped when I entered puberty, but I never quite felt like the woman/girl tag was the entirety of my existence. It took some time to find the gender identity I felt comfortable with, and it took about a year for me to get used to using it publicly — as publicly as I can, at least.

I’m yet to come out to my family, but I plan to before I hit 25. My mother and siblings will be surprised, but not too shocked. I’m pretty vocal about my opinions about the LGBTQ+ community.

Being a non-binary Nigerian living in Nigeria feels like I’ve been locked inside a tiny, stuffy closet.

Grey, 22

I was assigned the boy gender at birth, but my pronouns are they/them.

When I came out as non-binary, it finally felt like the right time to admit that I did not feel like the gender I was assigned at birth. My friends have been supportive since I did.

My gender change necessitated name change, and it gave a feeling of transformation; a sort of reclaiming. Ultimately, the goal is to transcend gender.

Originally published at http://nimisire.wordpress.com on September 23, 2020.

Emitomo Tobi Nimisire is a writer, sexual reproductive health and rights (SRHR) consultant, feminist researcher, and a communications strategist. She is a Young African Leaders Initiative (YALI), Common Purpose and Margaret Ekpo Youth Fellow, and ONE Champion. Nimisire applies an intersectional approach to analysing and proposing solutions to developmental issues and implementing sustainable solutions to them. She is committed to working on and creating programmes and projects that improve the quality of human lives.

De-Centering Men in the Nigerian Music Industry

This article was birthed on the premise that music history in Nigeria is incomplete without the contributions that women have made. So far, what we have seem like ghost stories and it’s the same old redundant information that’s available; how so-so was the first woman to do this or that, great records made by women in the past e.t.c. This write up could have gone in a similar direction, a curated list of women we believe you ought to know. However, the realization that a more intensive study of this missing bits of history is required changed the course of the article. Women deserve better than a brief summary of their achievements and when music in Nigeria is in discourse, the names of women shouldn’t be thrown into one messy category.

Lijadu Sisters

The history of the Nigerian music industry has been very male-centred, the contributions and even names of women nearly mythological. Women in Nigeria’s music history remain obscured by the achievements of their male counterparts and mostly come up in conversations that are partial to women, rarely in general terms. The men are idolized, made into pioneers and legends, meanwhile the women remain unacknowledged except for flashy pseudo-feminist references. In conversation and in the historical archives, one realizes how little is known about most of these women, in comparison with their male colleagues.

Mandy Brown Ojugbana

Breaking into the music industry, as with most industries, has always been twice as hard for women. Till date women fight to be taken seriously and given the same respect and benefits men are handed. From the Lijadu Sisters to Tiwa Savage, the narratives continue to share similarities, leaving you to wonder about the so-called progress that is being spoken of. No doubt, the music industry has more female artistes than it ever did, many of whom can boast of as many achievements, if not more, as male artistes in the industry. However, most female artistes do not last long on the scene because the demands made of them by the industry and by society are outrageously biased. The industry goes as far as pitting women against each other in a never ending comparison, often based not on their talents but their sensuality.

Ese Agesse

When one researches music history in Nigeria, there are very few mentions of the women who did music in times past. In fact, the Wikipedia article on Nigeria’s musical history goes into detail on prevalent genres, trends and artistes of the time (50s-90s), all of whom are notably male, afterwards a separate category titled “Women in Music” follows with no more than two paragraphs to summarize the place and influence of women in the industry. This is a reflection of how women singers were and still are being viewed: as complementary fillers. This flippant categorization of women who performed in varying genres and at various points in time, implies that women musicians were never given the same credit and status that their male peers were. That is to say, women who did music were not appreciated for their musical genius only because they were women in a male dominated industry. One can also say that they were viewed as a monolith and that “women in music” may as well be a music genre.

Christy Essien Igbokwe

Nigerian pop music has been heavily contributed to by women like Evi-Edna Ogholi, Mandy Brown Ojugbana, Esse Agesse, Nelly Uchendu and Christy Essien Igbokwe. These women each brought distinct flavour to the Nigerian pop scene. From reggae to highlife to disco, women were heavily involved in the industry, churning out albums and singles. Their songs were nationwide hits during the 70s to 90s, several of them achieving platinum status. Ironically, only their most popular songs have, however, survived the period of their creation, and there’s still talk of missing discographies. One can almost say with certainty that the higher percentages of missing discographies are those produced by women.

Evi Edna Ogholi

Furthermore, the music produced by female artistes in Nigeria has rarely ever been given the critical attention that men’s music has received. Few look past the women to the arrangement of their music, the innovations that they came about or their stylistic input to the industry as a whole. For instance, no one talks about the evolution of the musical style of Asa or the distinct style of reggae that Evi-Edna Ogholi played. Until recently, few people knew about the politically charged music of the Lijadu Sisters who began performing Afrobeats before Fela Kuti came onto the scene. Others like Onyeka Onwenu also remain in the shadow of Fela in terms of her political activism. At the height of the popularity of rock and roll, funk, jazz and disco, Nigerian musicians began to incorporate these genres into their soundscapes. However, only the name of IK Dairo is mentioned when this innovation is spoken of. The Lijadu Sisters did it flawlessly, but it’s out of the history books.

Salawa Abeni

Till now female artists have their personal lives in the spotlight, way more than their careers. A quick Google search of artistes like Ese Agesse and Salawa Abeni reveals tabloid articles pertaining to their sexuality and morality. The former has articles about her lack of a husband, while the latter has articles written about a man threatening to publish her nudes. It is not uncommon to have men take centre stage in discussions about female singers, whether or not the context is positive. Although someone like Salawa Abeni has more introspective articles written about her career due to her popularity, for most others these are few and far between. Writings and conversations exploring the lives of female artistes, in terms of their influences and inspirations, are rarities.

Onyeka Onwenu

The music industry in Nigeria has indulged in donning its female historical figures with interesting titles. Batile Alake is regarded as the mother of Waka, Salawa Abeni, the queen of Waka; Onyeka Onwenu, the elegant stallion; Christy Essien Igbokwe, Nigeria’s lady of songs and so on. A simple minded glance might leave one with the belief that these women were being honoured with these titles. However, there is more than a hint of underlying misogyny. The titles seem more like a replacement of the singers’ personalities, a compensation for their ability to penetrate a system set up without them in mind and one that still isn’t willing to give them their proper accolades. It is perhaps why Christy Essien Igbokwe was not the first president of the Performing Musicians Association of Nigeria (PMAN), but its first female president despite spearheading the project. The so-called appreciation that leads to the bestowment of these titles have apparently not been extended to the work it takes to maintain the legacy of their music. When it comes to women’s music, the industry has been unwilling to exert itself and therefore their work rarely outlives them. Whatever impact women had on the Nigerian music scene in the past has definitely not been of lasting effect because the universal model of significance or greatness is inherently masculine.
Therefore, what is needed is a rewrite of the music history of Nigeria, one that is all encompassing, blind to gender and clear-eyed to achievements and talent. Women in Nigeria’s music history are not only relevant for the purpose of writing Women’s Day articles. Neither should we bring them up only to say that they in fact exist.

Adeyosola is a writer, photographer, fashion enthusiast and of course intersectional feminist.

Sitting on a Man

Uju Anya

Women have a long history of naked protests against abusive male authority. See Kenya, Uganda, Liberia, Cote d’Ivoire.

Igbo women in Nigeria have a protest called ‘sitting on a man’ with nudity, lewd songs, beatings, vulgar displays to bring public scorn and shame on violators.

Remember the slander and abuse hurled at a black woman who spread her legs to directly confront police in a naked protest last month. Recall that when your tl waxes poetic about the beautiful courage of #nakedanthena bussing wide open her magical pussy.

While you contemplate the rank racism and misogynoir of calling a white woman who staged a naked public protest ‘goddess’ and a black woman who did the same ‘ratchet’, Google the history of women using nudity and lewd acts in civil disobedience.

Transmisogyny, classism and the Nigerian Feminist movement

Classism is the bane of Nigerian society, and it has crept into a feminist movement that’s still grappling with issues as basic as gender roles, the perfect victim syndrome, sex-work and LGBTQI rights.

During protests and discourses that have taken place since this new wave of feminism, which gained traction on social media over the past five years or so (a renaissance led by the LGBTQI community), there has been an ongoing battle to establish respectability politics especially amongst younger feminists.

There is always more outrage when ‘virgins’ are raped than when sex-workers are sexually assaulted by the police, the rights of women to safe abortions is glossed over, and the silence is usually resounding when LGBTQI rights are mentioned.

This attitude stems from the Nigerian middle-class obsession with sex- sex not as pleasure but as an act performed on the feminine, sex as a value judgement on who has been ‘good’ or ‘bad’, who’s deserving, who’s not.

Therefore, it didn’t come as a surprise that a lot of Nigerian feminists (in the wake of a transphobic tweet made by a popular white feminist writer) have been twisting themselves into pretzels to define who a woman is in order to invalidate the existence of trans persons (trans-women in particular as trans-men are still being erased).

Gender is a capitalist/patriarchal construct and there’s no greater illustration of this than the existence of the intersex, trans-persons and gender queer persons.

Trans-persons in particular have been at the vanguard of LGBTQI rights movement which in it’s recent history has been incorporating feminist values into it’s narratives.

Unfortunately these online attacks on trans-persons always translate into real time attacks on real or perceived queer people, and feminists, of all people, should understand that ‘its not just the internet’ because most of the street protests and gains in policy making around gender equality started online, and if these impacts can be made through the use of social media, how much more discriminatory speeches directed at people who have already been made vulnerable by laws designed by the government for that exact purpose.

When feminists theorise and advocate for the dismantling of the patriarchy, it is a call for dismantling gender and all it’s accoutrements. We are saying the feminine deserve respect and equal treatment, that we are not slaves or chattels created for the use of a sex that has been set up as ‘better’. We are insisting that these so called biological differences are not so different if the medical field is not so misogynist. Above all we insist on empathy and that the rights of all human beings, irrespective of their race, sex or identities, should be respected.

Transphobia is homophobia, it is misogynist and violent. Your ‘innocent’ remarks online can and in most cases, would lead to the assault of a person who doesn’t fit into gender stereotypes. And most of the people that come under attack are poor Nigerians who don’t have access to the opportunities that makes you privileged.

These human beings, more often than not do not have access to the opportunities that enable you to own phones and make internet subscriptions. They can’t call anyone when arrested by the police, their parents are too poor to afford bail. They are everyday people who suffer in silence because your feminism is too classist to take note of them, and even when you deign to, you’re in your ‘saviour’ mode.

Who is a woman? A woman is the feminine, she is whoever she says she is, and as long as this woman is in no way harming you, then you have absolutely no right to cause her harm.

Ayodele Olofintuade – Writer/Journalist/Researcher.

Lakiriboto Chronicles: A History of Badly Behaved Women https://g.co/kgs/JWxHky

In-Focus: Michael Akanji

Michael is a member of the Nigerian Drug Demand Reduction Technical Working Group; National HIV Prevention Technical Working Group, UNDP African Regional Key Population Expert Working Group and a 2015 Fellow of the International Visitors Leadership Program on LGBTI Human Rights and Advocacy of the US government. Also, he is currently the Key Population Advisor with Heartland Alliance International, Nigeria.

Michael Akanji was born on 1^st September 1984 and studied Electronics Engineering at the Federal Polytechnic, Nasarawa and Federal University of Technology, Minna, Niger State Nigeria. He progressed to the University of San Diego, where he studied Gender Studies and became an alumnus in 2016 with a degree in Gender Studies. In 2017, Michael obtained a Graduate Certificate from the University of Massachusetts, Lowell in Peace and Conflict resolution with specialization in intra-personal peace and gender identity.

Michael works on human rights using the public health approach for Sexual minorities and a Sexual Health and Rights Advocate with over a decade experience on LGBTI issues and interventions in West Africa and trained in Peace and Conflict resolution with expertise in Intra-personal Conflict. In 2019, obtained professional development certificate in leadership and management in health, implementation science and project management from the University of Washington.

Mr Michael Akanji was part of the Research Team for the UN 2000 Young People Report on the progress made on the “UNGASS Declaration of Commitment on HIV/AIDS: Our Voices Our Future” (https://www.unfpa.org/sites/default/files/pub-pdf/youth_UNGASS.pdf) and also contributed to various publications on Key Population and LGBTI issues, which includes: MSM in Sub-Saharan Africa: Health, Access,& HIV:  Findings from the 2012 Global Men’s Health & Rights (GMHR) Study (http://msmgf.org/files/msmgf/documents/MSMinSSA_PolicyBrief.pdf); The Nigerian MSM Health Scorecard: a tool for assessing and monitoring the accountability of stakeholders in advancing the health of men who have sex with men (MSM) in Nigeria.

Michael has served as a member of the Local Organizing Committee of the First National Conference on Inclusivity, Equality  And Diversity in University Education in Nigeria, 2017 (http://inclusivity2017.com/speaker/mr-michael-akanji/).  He is a co author of the book “Through the Gender Lens” edited by Funmi Soetan and Bola Akanji.

Michael has attended several pieces of training on Sexual Health and Rights advocacy; Population and Reproductive Health; Youth and Sexuality; Sexuality and Culture; Religion and Human Rights and key population programming, security, Research methodology among others and a trained paralegal with the American Bar Association Rule of Law Initiative.

Michael is the director of The Initiative for Equal Rights (TIERs) a community center and safe space for gay Nigerians.

Evolution of a Superweapon (as she’s about to hit forty) – Hawa Jande Golakai

RUIN: A PHOENIX ARISES (a pictomap of womanhood)

Thou shalt not hurt or publicly display rage, pain, shame, loss, filth or any form of brokenness.

Thou shalt despise correction and never seek help.

Thou shalt keep your face in the Strong Black Woman sunshine until it burns you to a crisp.

RUIN: A WOMAN IN HER PRIME (a pictomap of womanhood)Thou shalt BE.

Be intelligent (but non-threateningly). Be sexy (but don’t show it off like a ho). Be ambitious (but not aggressive). Be curious (but don’t nag). Be firm (but not a bitch). Be a giver (but don’t cling). Be a great parent, daughter, friend, neighbor. Be a bawse. Be rich (by magic). Be a great partner by never asking for anything you want directly. Be knowledgeable of everything under God’s sun.

Be.

BUT NOT ALL AT ONCE. NEVER SHOW OR BE AWARE OF ALL YOUR POWER. Don’t be kind and good; be “humble”.

Never get tired. Ever. Always prostrate yourself to give and forgive.

RUIN: ASCENDANT (a pictomap of womanhood)

Thou shalt allow others to define how strong, sane and sapient you are.
Allow every hardship to break and reshape you. Never be proud of crafting your fears and weaknesses into strengths.

RUIN: SCION (a pictomap of womanhood)

[If thou so chooseth]: Thou shalt have a close encounter of the 4th kind with at least one of your ova. It’s worth it 💚💛💜❤🌺🌻🌺💙🏵.

PS. Make it accidental, to maximise the horror and comedic effect.

SUPERWEAPON ( a pictomap of womanhood)

(OR.)

Damn all the advice to hell. You were there alone; you built the only map out.
Assemble all your broken pieces and create anew. Be your ancestors’ wildest dreams and deepest nightmares.

I LOVE YOU, HJG. God continue to bless you and entertain your madness. 💛💚💜💙💜❤🌻🌺🏵👑

Hawa Jande Golakai was born in Germany and hails from Liberia, where she spent a lively childhood before the 1990 civil war erupted. She writes crime, speculative fiction (fantasy, science fiction, horror, magical realism) and is in an unhealthy relationship with all twisted tales. A medical immunologist by training, she now works as a literary judge, creative consultant and educator. Golakai is on the Africa39 list of most promising sub-Saharan African writers under the age of 40. She is the winner of the 2017 Brittle Paper Award for nonfiction, longlisted for the 2019 NOMMO Award for speculative fiction and nominated three times for fiction. In addition to two novels, her articles and short stories have featured in BBC, Granta, Omenana, Cassava Republic, Myriad Editions and other publications. Currently, she lives in Monrovia with her son and too many chickens.

Photo Credit: Kanda V. Golakai