Olufemi, 45, poses for a portrait with his wife and four children in their one room apartmnent in Ikotun, Lagos.
The "Ebi OlOkada" project holds a deeply personal significance for me as a photographer born and raised in Lagos, Nigeria. It's a photographic journey into the heart of a cultural and economic phenomenon—the Okada riders who have been a lifeline for many Nigerian households since the 1970s.
This project's title, "Ebi Olokada," translates to "Okada Family." This phrase carries vital emotional weight for families like mine, who have survived thanks to the Okada. I witnessed the evolution of Okadas from being essential for navigating Lagos's road networks to facing marginalization and outright bans by state governments.
Inspired by my father's experience as an Okada rider for over 25 years, the project aims to challenge the negative narratives surrounding these riders. By humanizing Okada riders and showcasing their roles as workers, providers, and individuals in the face of government policies that often dismiss them, this project responds to the bans that criminalize their livelihoods, not just in Lagos but in other Nigerian and African cities where commercial motorcyclists exist as substitutes for the absence of reliable transportation infrastructures.
Growing up in the same areas as the riders I focus on, I feel intimately connected to the space I'm exploring. My father's story forms the core of the narrative I want to tell. However, I'm aware of the sensitivity of telling such stories, especially when it involves close relationships. These riders are not just subjects; they are my father's friends and colleagues.
"Ebi OlOkada" continues my exploration of social themes, merging personal connections, extensive experience, and a commitment to challenging stereotypes. It's a journey into the lives of Okada riders, aiming to amplify and reshape the narrative surrounding their essential role in Nigerian society.
While a large part of this story is unique to Nigeria (and specifically Lagos), some are continental, as ‘Okadas’ are ubiquitous to the African continent (and Global South nations). The cross-cultural nature of these experiences enables this project to travel through space while engaging similar issues across different geographical contexts.
Portrait of late Oguntade's family taken outside their house, seven months after his demise following a ghastly accident he encountered while working.
A portrait of me and my family. My father worked as an Okada man for 28 years and recently quit after series of accidents.
