Juliana Kasumu: Hair Statements

Posted in Art & Culture Art & Culture | 22 December 2016

The British-Nigerian photographer Juliana Kasumu explores contemporary issues relating to West African culture. Born in London in 1992, Kasumu’s interest in the subject came from the desire for a greater and more comprehensive understanding of her African heritage – “a cultural history which was not taught in the schools I attended, or even easily accessible when conducting research”. She continues, “I attempt to bring attention to groups of first generation individuals like myself, often feeling out of place in the country they were born in, trying to make their way back to their motherland”.

A recurring theme for Kasumu is the relationship between African women and their hair. While undeniably beautiful, her work goes beyond documenting the aesthetics and unique intricacies of African hairstyles, but rather seeks to trace the political and cultural origins of these hair statements. Kasumu speaks of her drive to bring these often forgotten narratives to the forefront, and each of her projects is the result of extensive historical research. “Discovering how detrimental the effects of colonialism have been on the black woman and how she self-identifies, push me to do more” she explains.

How did you get into photography?
I started off taking it at sixth form to fill in the time as I concentrated on other A-levels such as Psychology, but it ended up being the one which most challenged me. I had to think in a completely different way than I was used to. The last 2 years have been pivotal to the direction of my photography. The decision to refocus my photography on my identity as a British-Nigerian, femininity and the less spoken narratives of West African heritage, remains my motivation to keep pushing.

Who are some of the artists who inspire you? You have previously mentioned J.D Ojeikere and his iconic Hairstyles series, where do you see your work in relation to this? As an extension of this conversation?
I always revisit Carrie Mae Weems and her unforgettable Kitchen Table series. I sometimes mediate on it as a reminder to keep portraying the stories of black women, keep portraying stories of myself. Because who better to tell my truth, than me? Other late greats, such as Seydou Keïta, Malick Sidibé, Irving Penn and Robert Mapplethorpe are photographers, who for me, were visionaries of the merging of art and fashion. It’s so funny, because with J.D’s work, I actually saw his images in-between shooting mine. I will say though that this wasn’t really a continuation of a conversation, because in some ways the conversation around the underlying symbolisms of these hairstyles, the messages that were once so important have been lost within contemporary society and not been spoken on enough.

What does your own hair mean to you? Has its meaning changed since you began exploring the subject?
Yes, without a doubt. Honestly, this all started out of curiosity for my own hair in its natural state, without chemicals. I was going through a stage of trying to understand who I truly was as an individual and the conversation of double-consciousness as a British-Nigerian came into play. I became so obsessed with my hair and questions of identity; eventually stumbling upon all this history about West African hair methods. Discovering how detrimental the effects of colonialism have been on the black woman and how she self-identifies, push me to do more. Once I gained an understanding of who I am, what my truth is, only then could I begin to heal the internalised self-hatred I had once experienced.