Tyna Adebowale (1982) uses the body as signifier and tool to trace history and advocate for visibility for queer lifestyles. She critiques consumerism and imperialist structures, patriarchy and Christianity, as these are not inherent to the Nigerian structures of society and cohabitation within the communities. Prior to colonial and imperialist times, Nigeria was a matriarchal oriented society with flexible gender systems in which queer people would have a valued place. Through the consecutive influence of foreign involvement, such as British education and globally disseminated cultures, Nigerians have become alienated from their own background and related identities. Today queer lifestyles and other modes of deviant behavior are grossly denounced. Adebowale aims to counter the imposed influences, and rejuvenate knowledge, possibilities and appreciation of alternative ways of existence.
Adebowale makes drawings in which her androgynous alter ego and twin brother function as a bodily means to connect history. Also, the artist collaborates with suppressed queer communities who have dreadfully internalized the negative perceptions. Their collective films empower them as creative entrepreneurs and provide ways to regain their self-worth and (re)construct a positive attitude and perception of themselves. Even though the videos are made in a Nollywood fashion and similarly make use of an amateur cast, they disseminate stories that are not shown in mainstream movies. Rising up to the bounding systems that stem from colonial dis- and interruptions and suppression of old sexual lifestyles, Adebowale opts for a revival of dual sex gender fluidity and matriarchal reign. Through the representation of queer bodies and narratives, she wants to make the lifestyles visible and appreciated.