Call For Participation

#ICAFLagos2017 calls for 200 participants for Va-Bene Elikem Fiatsi (crazinisT artisT) performance: nativeimmiGrant II – efiewurasuame that will take place on December 9th 2017 in Iwaya Community. To participate in this performance, which its point of departure is the retelling xenophobic history between Ghana and Nigeria, by the Ghanaian artist, please send your name and contact number to


Va-Bene Elikem Fiatsi (crazinisT artisT)

nativeimmiGrant II – efiewurasuame

ICAFLagos2017 - Va-Bene Elikem Fiatsi (crazinisT artisT)How does one become foreign to the self, alien to the others and nonexistence to be protected by law and by his own people? What are those multiplicities or binaries that exist beyond being human: Class, race, gender, religion, cultures, politics, and ethnicity or …? Could we ever be at ease? Is there any home as home, foreign as foreign and stranger as stranger?

“The paradox is our story, the metaphor our life, the irony ourselves…”

“nativeimmiGrant II – efiewurasuame” will explore the iconography and symbolic gestures of Nigeria- Ghana expulsion of the 1969 and 1983 reminding us of the visible metaphors in contemporary conditions and narratives of citizenship while evoking debates on Trans- Cultural Revolution, xenophobic threats, socially excluded citizens, the tensions between modernity, indigeneity, post-colonialism and immigration.

Expulsion has been critical and most traumatic moments for individuals, groups and families throughout African history and many black communities. The concept of nationalism, alien, citizenry and otherness has expanded beyond human sense of belonging, patriotism and cultural identity to the state of being paranoid and vulnerable hence the necessity to flee danger, death, humiliation and torture.

According history, 1969 recorded ‘Nigeria-must-go’, which resulted from a decree from the government of Ghana requesting all non-citizens without permit to exit within two weeks, repeating the revers 13 years later in Nigeria. In 1983, the Nigerian government expelled more than a million Ghanaian migrants a few, the largest exodus in the West African history given the name ‘Ghana-must-go’ to the chequered bag uses by most Ghanaians for their luggage.

The performance also questions our own sense of belonging and identity, and the contemporary narratives of human displacements spiritually, physically and psychologically as we may culturally be removed from [home].

Description of the performance activities

The performance will be a processional participatory enactment covering a distance of about 2 km; approximately 30 minutes’ walk where Va-Bene Elikem Fiatsi (crazinisT artisT) shall lead in beads like a “Dipo” teenage. All participants shall wear red draping long polyester drugging on the floor about 1 yard behind. Each person shall carry at least two Ghana must go- chequered bag of desired weight and rolled student mattress (preferably worn-out or over used).


  • There shall be no rehearsal but all participants will meet with the artist a day before the event to discuss the structure of the performance.
  • There may be some improvisations later.


  • 200 participants
  • Bare footed
  • Ghana must go with drape of costumes, rugs or dresses
  • Used student mattresses (preferably worn-out)

Deadline: 5th December 2017.

Contact: Send your name and mobile number to

#StillNoLongerAtEase #ICAFLagos #ICAFLagosAIR #ICAFLagos2017


Grigri Pixel 2017. Selection of citizen initiatives from the continent of Africa

“After an international call for bids, although placing special emphasis on Africa, the following people from African towns have been chosen to participate in the workshop: Aderemi Adegbite from ICAF (Lagos, Nigeria), Essome Ebone Ismael from Madiba & Nature (Kribi, Cameroon), Gnikou Kodjo Afate from Woora make (Lomé, Togo) and Toure Ndèye Mané from Côté Jardin (Dakar, Senegal).

Likewise, the Grigri Pixel workshop will be accompanied by a video-mapping creation residency, carried out by the artist, Bay Dam, from Dakar, using MapMap open source software. This residency will be held in collaboration with the AVFloss group from Medialab Prado. At the end of the Grigri Pixel workshop and coinciding with the installation of the object made for EVA, the work carried out during the video-mapping creation residency will be presented.”


Iwaya Community Art Festival (ICAF Lagos), is a project conceived by the Vernacular Art-space Laboratory Foundation (VAL Foundation) to challenge the notion of art in the white cube and bring art closer to the people who are unaware and might not be able to afford to see standard exhibitions in galleries and museums, through the use of alternative and abandon spaces for site-specific installations and performances. This festival make use of the streets in Iwaya community and environs for alternative artistic interventions.
ICAF Lagos started in 2016 as one of the numerous artistic inventions by the Vernacular Art-space Laboratory Foundation (VAL Foundation), which was founded in 2014 by a group of Iwaya community literati led by the artist, Aderemi Adegbite. The aim of the Iwaya Community Art Festival is to bring local, national and, where possible, international artists to Iwaya for dialogue and discourse through visual narratives and interventions that are none conformity to any presentational style or rule.

Read more here:

Call for submissions and applications for ICAF LAGOS 2017

ICAFLAGOS2017 Call for submissions

The call for submissions and applications for Artist-In-Residency programme for the second edition of Iwaya Community Art Festival (ICAF Lagos 2017) is open to visual artists, sound artists, light artists and performances artists from Africa and other nationals until the 31st of August, 2017.

Click here to read the conceptual framework of ICAF LAGOS 2017

As the use of both alternative and abandoned spaces are central to our style of presentation, we are looking for works that could be immediately printed with the use of different techniques for public space and site-specific works/performances. We are not seeking for studio-made works that are delicate and cannot be exposed to dust, sun, air and moist but works and instructions that fit in public spaces.

 Aderemi Adegbite
 Artistic Director, ICAF Lagos 2017.



The works of the participating artists will serve as a visual dialogue for communities in Africa and other parts of the world. “Some years back, underdeveloped was a popular phrase used to discuss countries in Africa and South-east Asia but today, it is Global South and Global North dichotomy. The struggle is between the haves and the have not, and this plays a bigger role in how art is perceived and consumed.” They will also look at the surreal reality in Lagos, “the divides that put the poor on the Mainland and the rich on the Island, which in turn, affects the appreciation and consumption of art in the city”. Excerpt from The Sole Adventurer (TSA) website.

Read more via this link:



Last weekend, in the streets of Iwaya located in Yaba, a suburb of  Lagos, the Iwaya Community Art Festival maiden edition was live.

This great initiative was presented by the Vernacular Art-space Laboratory though rarely known, this platform promotes interdisciplinary art collaborations. The festival is a first of its kind in recent times in Lagos art scene.

See more photos here:



The maiden edition of the Iwaya Community Art Festival tagged “ICAF Lagos 2016” took the centre stage last week, as the event was held between 9th December – 11th December. As a result, Iwaya community was treated to a variety of Cinema, Story-telling, Dance, Comedy nights, various arts and crafts featured by participating artists. The festival was declared opened by 1pm at Fazi Omar School, Iwaya on Friday, 9th December with a performance by Odun Orimolade titled “Monument”.

Proceedings for the closing ceremony of the festival began on Sunday 11th December by 3pm with “Beyond the Comfort Zone”. A panel discussion on ‘Space-Conscious Artistic Interventions and Alternative Audience’ moderated by Emeka Okereke.

Read more on:

I C A F Lagos 2017 Supported by (2)