After chopped in smaller chunks, they are properly seasoned and placed on a locally constructed grill

Smoking the fish

Egúngún are elaborate, costumed figures and masquerades from the Yoruba tradition, representing the spirits of departed ancestors (Ara Orun) who visit the living to offer blessings, guidance, and entertainment. These masquerades are characterized by vibrant, layered costumes made from various fabrics and adorned with symbolic items, with performances involving drumming, dancing, and storytelling to connect with the community's past and reinforce family bonds.  To view the egúngún solely as performers is to miss the point. They are the central node in a continuous, vital conversation between the living and the dead. They carry the knowledge of the lineage, reminding the living of their obligations to family, community, and tradition. Their songs, chants, and proverbs often contain teachings handed down through generations. By re-enacting history and ancestral roles, they ensure that cultural knowledge does not vanish. They embody the àṣẹ of the ancestors, keeping the community connected to its roots. During appearances, specific egúngún may manifest as a particular, known ancestor, speaking in their voice and recounting their deeds. This is a powerful form of historical reenactment and education, making history tangible for the youth. Also, the Egúngún serve as intercessors between the living and the Divine. interceding on behalf of the individual or society.   The egúngún is a repository of law, history, medicine, ethics, and art. They hold this wisdom not in static archives, but in a living, dancing, judging, and prophesying institution that ensures the community never severs its link to the source of its identity and strength. They are the ultimate expression of the belief that the dead are not gone, but are active, wise elders watching over and guiding the living.

Egúngún 

 ‎ ‎Naija in Motion envisions a future where good transport system connects people, opportunities, and dreams. Lagos, Nigeria’s commercial heartbeat, stands at the forefront of this transformation through its new urban rail system. ‎ ‎The history of rail transport in Lagos dates back to 1983, during the administration of Lateef Jakande in the Second Republic, when the idea of a modern rail-based transit system was first conceived. Today, that vision has evolved into the Lagos Rail Mass Transit (LRMT). It consists of six major lines and one monorail route, designed to serve areas of high commuter demand across Lagos and even into Ogun State. ‎ ‎As one of the world’s fastest-growing megacities, with over 22 million residents and an annual growth rate of nearly 6%, Lagos urgently needs efficient mobility. The LRMT has a projected capacity of 750,000 passengers daily, expected to rise to 1.1 million when fully operational. ‎ ‎This system is more than infrastructure, it is a symbol of hope, progress, and connection. It sets the pace of development towards a Nigeria that embraces ultramodern transport systems, fostering economic growth and moving us closer to the future we imagine.

Naija in Motion 

Behind the towering walls of an old Anglican church, a quiet graveyard rests. The stillness here feels sacred, heavy with memories and unspoken prayers. 

AFTER THE AMEN

A better Nigeria, built on a stronger educational system

A vision of a New Nigeria

Same wheels, same structure, a different view. 

Juxtaposition 

Captured in Maryland, Lagos, this image portrays a woman in blue Ankara and a raffia hat, arranging her crafts with quiet confidence. It reflects Another Nigeria, one defined by everyday creativity, patience, and purpose. Her work becomes a language of resilience, showing that what is made in her hands also shapes the heart of the nation

Made in Her Hands

The yam farmer

Egbiameje Omole performs Pankere in Glitter, a work confronting the traumatic and emotional stakes faced by non-binary and queer people in Nigeria under hostile legal and social regimes. In Yoruba, pankere refers to the cane once used by guarantors to discipline children, a symbol of the violence and regulation imposed on queer bodies from childhood through adulthood. Omole’s performance reclaims this memory, transforming it into a spectacle of resilience. By drawing on the legacy of cross-dressing and queer icons of the past, the work resists erasure and insists on presence. Captured on a mist-covered hill, their red, glittering outfit vibrates against the muted landscape. The movement appears frantic, almost ritualistic, an act of defiance against invisibility, a demand for recognition. This image embodies the weight of law on queer lives in Nigeria while celebrating the persistence of joy, survival, and visibility against the forces that seek to constrain them.

In Glitter II

This image is a minimalist allegory for our collective journey. The vast, turbulent sky, with its deep and moody clouds, represents the present moment—the storms of uncertainty and challenge we must all navigate. It is the beautiful, intimidating, and complex world as it is. The lone airplane is a symbol of human hope and resolve. It is small and solitary against the storm, yet its course is unwavering. It is the emissary of our ambition, a testament to our enduring need to seek what lies beyond the horizon. A new world is possible, and its promise is visible in the break in the clouds—the patch of clear sky that is the destination. This photograph is about that passage. It is a meditation on the courage it takes to fly through the storm, guided by the belief that a calmer, brighter world awaits.

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