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anansi studios.

@anansixstudios

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anansi studios.
curated digital archive.
specifically for descendants of africans & indigenous peoples.
founded by: @devonkayne
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THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some warm tracks & bodies of work that move me deeply, three artists each section, with so much love, enjoy. #001 this time by keiyaa @keiyaa, featuring rah rah gabor @rahrahgabor. keiyaa is a vocalist, songwriter, producer, & multi-instrumentalist originally from chicago. keiyaa just released her second self produced album titled “hooke’s law” following the release of her decadent first debut album “forever ya girl” five years ago in two thousand twenty. the name of the album “hooke’s law” is inspired by a specific law in psychics that states that the force needed to stretch or compress a spring is directly proportional to the distance it is stretched or compressed, essentially, a downward spiral, can also be a loaded spring, If you know, you know. rah rah gabor is an artist, writer, & simply one of one. originally from new jersey, separate from her own releases, she is often trusted to be the only feature on beautiful projects such as kelela’s “raven” & now as well on keiyaa’s album “hooke’s law”. excited to see whats next & can comfortably say this is one of my favorite verses to come out in two thousand twenty five. namesake by @preciousreneetucker & @aaronlongsleeves. treble by precious renee tucker. bass by aaron longsleeves. precious renee tucker, is an artist & experimental pianist with a breathtaking ability to manipulate polyrhythms, various synths & play with sensations of tension & release entirely by hand. precious was also recently featured in a performance for @saintheron where she performed five sets every one thousand nine hundred & thirty nine seconds in honor of the year of construction of the amaza’s first building, azurest south. aaron longsleeves, is also an artist & multi-instrumentalist from california who joins precious by playing the bass in this ten minute long ep titled “namesake”. can’t cope (unreleased & reversed) by swv @officialswv, produced by jr hudson. cheryl “coko” gamble, tamara “taj” george, leanee “lelee” lyons. the layering & drum sequences sound so similar to cranes in the sky by @solangeknowles to me, enamored. 🖤 by @anansixstudios
THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some films & bodies of work that move me deeply, three artists each section, with so much love, from me to you, enjoy. #002 faat kiné directed by ousmane sembène starring younousse sèye as “faat kiné”. younousse sèye is a senegalese artist & actress born in the nineteen fourties, entirely self taught, she also became one senegal’s first female contemporary artists. inspired by her mother who was an expert at dyeing textiles, her work often incorporates cowrie shells & custom dyed colors as well. ousmane sembène is a senegalese director, producer, & writer who became the first independent film director from africa to achieve international recognition. starting his career as a writer, he realized at the age of thirty eight that his stories would reach more people if he adapted them into film; encouraged, he moved to russia to study film. ousman released his first feature film at the age of fourty three titled “la noire de”, this film alone won him the prix jean vigo, a prestigious & respected award in the french & international film community. mirror mirror: consuela cosmetica directed by baillie walsh. consuela cosmetica was an artist & performer born july seventh, nineteen fifty eight originally from brooklyn, new york. this film is a portrait of the last year of consuela cosmetica’s life as she navigates the complexities of simply existing & surviving as a black trans woman in the eighties & nineties in brooklyn, new york. “who is consuela cosmetica? a fair skinned black male, a self made star, show personality, couture specialist, liar, cheat, scam artist, credit card fraud, black mail extortionist, (laughs) umm, victim of circumstance, a leader, role model & at this present time, a person dealing with aids. that just about sums it up… (hits cigarette)” - consuela cosmetica x mirror mirror happily ever after: fairy tales for every child x the valiant little tailor. a series released by hbo in nineteen ninety five with voice acting from james earl jones, david alan grier, dawn lewis, & mark curry. a personal childhood classic, if you know, you know. 🖤 by @anansixstudios
THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some visuals & bodies of work that move me deeply, three artists each section, with so much love, from me to you, enjoy. #003 test by ms. carrie stacks @ms.carriestacks. direction & action by damani pompey @magnus.works @pompeiusmagnus & telfar @telfarglobal. edited by @avennui produced by @shayne0liver & @nightfeelingss mixed & mastered by @ohyesitsgabe styling by @avenagallagher, hair by @jawaraw, makeup by @raisaflowers, nails by @nailglam, casting by thugpop. sancocho by cassius cruz. produced & mixed by cassius cruz. clips chosen & edited by lilith. cassius antonio cruz, born january eighteenth nineteen ninety nine, is an american recording artist, songwriter & producer born to jamaican parents originally from brooklyn, new york. “i wrote this song in the fall of two thousand twenty one. it was the first song I wrote on paper in years & i originally did it over deep fried frenz by mf doom before i made the beat that it has now. someone broke my heart.” - sancocho x annotation written by cassius cruz via @genius. damn! by ky ani @kyani. produced by @turnuptobi. directed, shot, & edited by @jpmovx. ky ani is an emcee, performer, & writer originally from new jersey. releasing her mixtape “the one” back in april of this year, ky ani is also featured on the track “aight boom” by ms. boogie @dearmsboogie produced by @booboo3000000 with violin from @bqstrings. 🖤 by @anansixstudios
001 archives of two separate kindombolo face masks carved by the pende peoples of the democratic republic of the congo. wood & pigment both from the twentieth century. separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories across the continent of africa, what would it look like for two artists of the pende peoples: a kipende speaking peoples who reside in the congo, to conjure together on a piece verses independently of one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst other various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in the congo, to the soil in angola, to the sugary heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives. enjoyed researching this & with love, from me to you. 🖤 archives sourced thru @anansixstudios. wheat paste graphic on textured canvas, handmade & curated by devon kayne. full portfolio: devonkayne.com by @anansixstudios
002 archives of a mgbedike face mask carved by the igbo peoples of nigeria. wood, gum, basketry, metal, & cloth from the nineteenth century.  archives of a nkisi nkondi figure carved by the songye peoples of the democratic republic of the congo. wood, pigment, copper, metal, glass beads, raffia, antelope horns, goat horns & civet hide from the nineteenth century. separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories across the continent of africa, what would it look like for the igbo peoples: a igbo speaking peoples who reside in nigeria & the songye peoples: a kisongye speaking peoples who come from the congo, actually met one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst other various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in nigeria, to the soil in the congo, to the sugary heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives. enjoyed researching this & with love, from me to you. 🖤 archives sourced thru @anansixstudios. graphic handmade & curated by devon kayne.  full project in bio. by @anansixstudios
003 archives of a tankagle face mask carved by the dan peoples of côte d’lvoire. wood, pigment, fiber & metal from the twentieth century.  archives of one handmade headdress made by the fang peoples of gabon. basketry, fiber, cowrie shells, & cloth.  separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories across the continent of africa, what would it look like for the dan peoples: a mande speaking peoples who reside in côte d’lvoire & the fang peoples: a bantu speaking peoples who come from gabon, actually met one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst other various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in gabon, to the soil in côte d’lvoire, to the sugary heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives. enjoyed researching this & with love, from me to you. 🖤 archives sourced thru @anansixstudios. wheat paste graphic on textured canvas, handmade & curated by devon kayne. full portfolio: devonkayne.com by @anansixstudios
THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some tracks & bodies of work that move me deeply, three artists each section, with so much love, enjoy. #004 i can only think of you by gwen mccrae circa nineteen seventy nine. gwen mccrae originally from pensacola, florida known as the “queen of rare groove”, this song is so messy yet so gentle & honest, to yearn, to crave… the sweetest thing on this side of heaven by papa bear & his cubs, circa nineteen seventy five. papa bear & his cubs originally from hampton, arkansas was composed of eddie disnute sr & his six musically inclined children. around nineteen seventy five they recorded their only vinyl in sam griffith’s home studio/living room in camden, arkansas. the only two tracks ever to be recorded are side a: the sweetest thing on this side of heaven & side b: you’re so fine both written & about the mother of their children & wife, christine roberta disnute. sending so much love to helene, yvonne, billy, eddie jr, kenny, & christopher of papa bears & his cubs. i hadn’t anyone till you by hadda brooks, circa nineteen fifty. originally from los angeles, california hadda brooks was a pianist, vocalist, & composer who was known as the “queen of boogie.” starting her career primarily as a pianist, classically trained since she was four years old, in the nineteen fourties she often played her own piano & definitely peaked interest early internationally. she traveled around the world touring with orchestras & appearing in short but decadent performances in various films. with music changing with the times bookings eventually slowed down & she retired in nineteen seventy. it wasn’t until sixteen years later when she released her recordings from the nineteen fourties in nineteen eighty six, that she would become even more known for her gifts & contributions to jazz, boogie, & blues. inducted by the blues foundation hall into the hall of fame in nineteen ninety three. only married once & unfortunately widowed, her husband earl “shug” morrison, a harlem globetrotter at the time, passed a year after their marriage of pneumonia, hadda brooks never remarried. 🖤 by @anansixstudios
THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some films & bodies of work that move me deeply, three artists each section, with so much love, enjoy. #005 angel: la mujeron @la_mujeron_ by sebastiano d’alaya valva @avlavalayad. angel is a remarkable artist & afro-latina woman of the trans experience. angel is even still performing & deeply loved nearly fifteen years later after the documentary’s release. the film follows her journey to visit her family back home in ecuador after moving to paris to chase her dreams. if you are able to donate or support angel further in her dreams of one day buying her own plot of land & starting a farm back home in ecuador; you can find more info on her instagram, gofundme, & thru this film, we love you deeply angel. “when I first got here, I thought I’d find what I wanted, to make some money & get the project I had in mind done. I still have that project in mind because hope never dies. my project is to do livestock farming; to build an animal farm & breed many different types of animals like hens, ducks, rabbits, guenia pigs, & more; to buy a plot of land & do my thing” - angel’s farm excerpt. a special thank you & source: @dearmsboogie. 🖤 suzzy williams via nolly babes @nolly.babes. the icon suzzy williams was a ghanaian actress well known throughout ghana & nigeria for her ability to range thru soft, textured, & comedic roles from my mothers heart, official prostitute, to cry of a woman. she unfortunately passed away in a traffic collision at the young age of twenty three in two thousand five. twenty years later we still love seeing her versatility on screen. candyman - tony todd x shot by bernard rose. since childhood I have been enamored by the visuals, styling, & research surrounding tony todd; specifically in his role as candyman. from his voice, to simply his acting ability to go from warm to eerie in just a matter of seconds, he simply started my love for black horror films. the cabrini green projects in chicago, the huge mural pieces in the film, & delicate conversations about the black body all evoke conversations still relevant to today. we love ya tony. 🖤 by @anansixstudios
THE DIALECT six part series of archives & recommendations from @devonkayne & @anansixstudios. some visuals & bodies of work that move me deeply, three artists each section, with so much love, from me to you, enjoy. #006 moonlight by salimata @eet_it_off_me x shot by @ryosuketanzawa. k.i.s.s by keiyaa @keiyaa x shot by @morbidtheclown. arugula by junglepussy @junglepussy x shot by @morbidtheclown. 🖤 by @anansixstudios
004 archives of an edan ògbóni forged by the yoruba peoples of nigeria. brass from the nineteenth century. a ciwara kunw carved by the bamana peoples of mali. wood, pigment, metal, brass, tacks & grasses from the twentieth century. a sogoni kun carved by the bamana peoples of mali. wood & pigment from the nineteenth century. a n’tomo kun face mask carved by the bamana peoples of mali. wood, pigment, fiber, & cowrie shells from the nineteenth century. separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories across the continent of africa, what would it look like for the yoruba peoples: a yoruba speaking peoples who reside in nigeria/benin & the bamana peoples: a bambara speaking peoples who come from mali, actually met one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst other various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in benin, to the soil in mali, to the heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives from me to you. 🖤 graphic handmade & curated by devon kayne.  full project in bio. by @anansixstudios
005 archives of a two headed nkisi nkondi mbwa carved & adorned by the yombe & kongo peoples of the democratic republic of the congo. wood, pigment, & metal from the nineteenth century. archives of a n’tomo kun face mask carved by the bamana peoples of mali. wood, pigment, fiber, & cowrie shells from the nineteenth century. separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories in across the continent of africa, what would it look like for the yombe peoples: a kiyombe speaking peoples who reside in the congo, & the bamana peoples: a bambara speaking peoples who come from mali, actually met one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in mali, to the soil in the congo, to the sugary heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives. enjoyed researching this & with love, from me to you. 🖤 archives sourced thru @anansixstudios. wheat paste graphic on textured canvas, handmade & curated by devon kayne. full portfolio: devonkayne by @anansixstudios
006 archives of an edan ògbóni forged by the yoruba peoples of nigeria. brass from the nineteenth century. a ciwara kunw carved by the bamana peoples of mali. wood, pigment, metal, brass, tacks & grasses from the twentieth century. a sogoni kun carved by the bamana peoples of mali. wood & pigment from the nineteenth century. a n’tomo kun face mask carved by the bamana peoples of mali. wood, pigment, fiber, & cowrie shells from the nineteenth century. separated by thousands of miles across decadent land, unfamiliar waters, & multiple claimed & unclaimed territories across the continent of africa, what would it look like for the yoruba peoples: a yoruba speaking peoples who reside in nigeria/benin & the bamana peoples: a bambara speaking peoples who come from mali, actually met one another? what would the clothing of kenyans & eretrians sharing thread & needle look like? what specific details would elicit artistic similarities & differences when seen or found by each other? what was considered aesthetically pleasing versus displeasure when constructing the clothing or masks amongst other various sub saharan africans way before the interruption of colonizers with african sand under their feet? of course it would be naive to negate the clear & realistic potential for these two african peoples to engage in defending one’s bloodline just as humans have done since the beginning of time, however, there is also the clear potential for a deep love & exchange, what would these half west african half east african deities look like? the taste of the food? the scents of perfume & colognes? the facial structure? from the trees in benin, to the soil in mali, to the heat in fort smith, arkansas; i ask myself as a boy from the south what do you think these masks, deities, & figures would look like if you conjured ideations of these just as your ancestors did before you?  inspired by the warmth of other suns by @isabelwilkerson this six part series attempts to answer these questions through diligent research & the conjuring of one’s own designs & influence when coming across these archives from me to you. 🖤 graphic handmade & curated by devon kayne.  full project in bio. by @anansixstudios

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