Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'Unyọñ Ufọk,' by Emily Nkanga (published by GÒKÈ). We'd love to read your comments below about these insights and ideas behind the artist's work.

Standing in her hometown, camera in hand, Emily Nkanga saw her father’s legacy in a new light.

She didn’t set out to create a project about grief, but loss has a way of reshaping what we see. Unyọñ Ufọk, which means “going home” in Ibibio, became a way to understand her father’s story and her own connection to it. Through photography, she found details she had missed, stories she had never heard, and a history she hadn’t fully grasped. What started as a personal project grew into something bigger: a record of home, family, and identity.

The images she made in Akwa Ibom capture the emotions tied to it. Using film photography, she gave herself time to slow down, observe, and let moments unfold. In the end, Unyọñ Ufọk became proof that home is more than a location, it’s a story still unfolding.

Emily Nkanga’s camera became her way of asking the questions she could no longer ask her father.

The Book

Unyọñ Ufọk (which means “going home” in Ibibio) is a deeply personal photographic project by Emily Nkanga, exploring loss, memory, and identity through the act of returning home. After the passing of her father, Nkanga embarked on a journey to her hometown in Akwa Ibom, Nigeria, using photography as a way to process grief and reconnect with her roots.

Shot primarily on film, the book blends intimate family moments with broader cultural documentation, capturing everyday life, community traditions, and the significance of mourning rituals in Nigerian society. Through her lens, Nkanga discovers new dimensions of her father’s legacy—not just in personal memories, but in the stories shared by those who knew him.

Unyọñ Ufọk reflects on the universal experience of homecoming, the impact of loss, and the ways in which photography can preserve both history and emotion. (nkanga-archive.com)

Overview of the project: Can you share the inspiration and motivation behind Unyọñ Ufọk and what you aimed to achieve with this deeply personal project?

The idea for this project came at a time when I was going through a really tough time. I had just lost my dad and I realised I didn’t have much to hold on to asides the memories. If I didn't have control over anything else about him that was documented or not, I literally could have this. Unyọñ Ufọk means going home in Ibibio language and the project reflects just that - a visual diary of me going to my hometown and my dad transitioning to another home.

Navigating personal grief through art: How did the process of documenting life in Akwa Ibom serve as a means of coping with your father’s passing, and in what ways did it influence the themes and emotions captured in your photographs?

It was and is still a unique experience to be very candid. When you have a relationship with someone, you know them for who and what they present to you. However, through this project, I was able to see him from the perspective of other people. Why he was loved so much and all the things he achieved that he never even spoke about. It definitely made me realise that there are questions I wish he was here to answer or explain more deeply. The beauty though, is that my curiosity allowed me to learn more about my culture, my people, my community. What makes them the way they are; why they do what they do and why my heritage is so distinct.

Were there any stories or moments that completely changed the way you saw him?

Not exactly, they mostly collaborated, added or justified things I already knew, had an idea of or didn't have a full picture of. Death can make you understand someone better or even less.

Balancing personal narrative with universal themes: While Unyọñ Ufọk is rooted in your personal experiences, it touches on broader concepts of identity, home, and community. How did you navigate this balance to create a narrative that resonates universally?

It’s fascinating how many dots connect across cultures and life in general irrespective of geographical locations. It might not be in tradition or style but in the inherent meaning. Over the years, I have spent a good amount of time trying to understand other people and cultures I have interacted with and that is something that still drives my documentary practice. To simplify, I had to just sit back, observe, ask questions and connect the dots with other experiences I have crossed paths with. I didn't consider this as something happening in isolation and honestly, for me to fully understand these experiences and what I was feeling, I had to think of its place in the wider world.

I would also say that while the project was created because of my father, permit me to say it was also made for him. I put into consideration what he would have loved to see if he were here. But that’s only one side to it.

Technical choices and their impact: You utilized analog photography with cameras like the Mamiya RZ 67 and Olympus OM2. What influenced this choice, and how did it affect the aesthetic and emotional tone of the images?

Film is such a beautiful medium. I started my photography by shooting on digital so the difference for me between digital and film is clear as day and night. The nostalgic feeling film gives in both the process and result is what influenced my choice. Also, the depth and tonality that medium format gives influenced my choice as I do not own a medium format digital camera. The timelessness of film has been tested, trusted and approved. I wanted that timeless look and feel with these images. When I got the scans back and as predicted, it made the images feel alive.

Capturing the essence of community: Your work features various facets of Akwa Ibom life, from cultural groups to local boxers. What strategies did you employ to authentically represent these diverse aspects of the community?

In order to authentically represent the different aspects of Akwa Ibom life, I had to fully immerse myself in the community. I spent time with cultural groups, local boxers, everyday people and just listened to their stories. It wasn’t just about taking photos, it was about building trust and letting them see themselves in the work. Also I wanted the images to feel real and personal, so I paid close attention to details like lighting, composition, and color to bring out the vibrancy and depth of the culture. But more than anything, I wanted the community to recognize themselves in the art—to feel proud and truly seen.

The role of music in your photography: Given your background in working with music artists and your documentation of traditional music bands in this project, how do you perceive the relationship between music and visual storytelling in your work?

I’ve always seen music and visual storytelling as deeply connected. You listen to songs and they just evoke emotions and tell stories in ways that words sometimes can’t. Music also holds a lot of identity. So I’d say my experience working with music artists gives me an appreciation for rhythm, energy, identity and performance which naturally carried over into documenting traditional music bands in this project.

Focusing on the instruments or the performances is really great but I wanted to translate the atmosphere and their identity into a single frame. Just like songs, powerful imagery can literally do the same.

Do you think of your images as having their own rhythm, like a visual composition?

That's an interesting question. I would say yes and that rhythm depends on the type of music/musician I’m photographing. Before now, I thought of my images as having personalities or souls as close as possible to the musician or to the music they make. Sometimes a musican's personality is different from their music.

Portraying cultural traditions: The book delves into Nigerian mourning customs, such as commemorative clothing. How did you approach photographing these traditions to convey their cultural significance and emotional depth?

With a deep sense of respect and sensitivity to be fair. For me, mourning isn’t just about loss. Yes, you’ve lost someone dear but it’s also a time to reflect and remember what their impact was; and perhaps decide what their legacy will be for you. The commemorative clothing to me is more than just fabric, it further highlights identity and community. Therefore, it was important for me to concentrate on my father's immediate community and to photograph them in groups and not individually. These clothings carry stories, memories, and are a visual language of honour. It was a reminder that everyone here came out to honour him. To pay their last respects.

This is grief, yet you can see the resilience and collective strength of those left behind.

Challenges in documenting familiar environments: Returning to your hometown after years abroad, what challenges did you encounter in seeing and capturing the familiar with fresh eyes, and how did you overcome them?

My major challenge was discarding my notion of what I think should be and focusing on what is. I had to embrace the fact that even if I had a new perspective about life, unguardedly immersing myself was the best way for stories to remain authentic and respectful.

Were there any moments where you had to rethink your approach or let go of preconceived ideas?

An example would be photographing the boxers. I had expected to meet a training ring at least in the gym but they trained in the open and had just punching bags in the gym. This made me think of how to portray their unwavering determination and focus less on what they did not have even though I had pre planned some shots with the anticipation of a ring.

Advice for emerging photographers: For photographers aiming to explore personal narratives and cultural documentation, what insights from your journey with Unyọñ Ufọk would you share to guide their creative processes?

Start with genuine curiosity and respect for the stories you’re trying to tell. With Unyọñ Ufọk, I wasn’t just an observer - I immersed myself in the communities, listened to their stories, and built relationships. That connection made all the difference in how I captured their realities.

Another key thing is patience. Cultural documentation isn’t about rushing to get the perfect shot. You have to allow moments to unfold naturally. The most powerful images often come from just being present and paying attention to the expressions, body language and even atmosphere.

Also, don’t be afraid to bring your own perspective into the work. Your own experiences and emotions can add layers of meaning to your images. The goal should be to create something that resonates both with the people you’re photographing and those who will eventually see the work.

We’d love to hear your thoughts on these insights and the ideas behind the artist’s work. Don't forget to subscribe to receive news about latest posts and giveaway winners.

We’d love to hear your thoughts on these insights and the ideas behind the artist’s work.

Don't forget to subscribe to receive news about latest posts and giveaway winners.

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here. (nkanga-archive.com)

Emily Nkanga

Emily Nkanga is a Nigerian-British multidisciplinary artist working across photography and filmmaking. Her work focuses on documenting lived experiences within the complexities of everyday life and popular culture.

Her documentary project, Narratives of Displacement: Conversations with Boko Haram Displaced Persons in Northeast Nigeria, which explores the realities of internally displaced people affected by the Boko Haram insurgency, was published by Taylor & Francis.

Nkanga is also recognized for her portrait work, capturing notable figures such as Thierry Henry, Whoopi Goldberg, Alex Iwobi, and Olamide. She has collaborated with major global companies, including Sony Music, Universal Music, and Amazon Studios. Her work has been widely published in outlets such as the British Journal of Photography, OkayAfrica, and the BBC.

She holds an MA in Filmmaking from Goldsmiths, University of London, and a BSc in Communications and Multimedia Design from the American University of Nigeria. (Website, Instagram)

GÒKÈ

GÒKÈ is an independent media company specialising in visual storytelling and outdoor advertising. With a presence in both the United Kingdom and Nigeria, the company is dedicated to amplifying diverse stories, fostering creative expression, and connecting audiences across the Atlantic. GÒKÈ seeks to push the boundaries of storytelling in contemporary culture. Its debut publication, Unyọñ Ufọk, reflects this commitment to storytelling and cultural connection. (Website, Instagram)

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