“Michel Kameni: Portraits of an Independent Africa,” a new exhibit at the Smith College Museum of Art, captures personal mementos from post-Independence Yaundé, Cameroon.
This traveling exhibition features 55 photographs from 1963 through the late 1970s, only a fraction of the over 120,000 images taken by Cameroonian studio photographer Kameni over his lifetime. The intimate scale of each photo provides glimpses into the individuality and styles of people who visited his studio.
Kameni, who began his career as an ID photographer for the French colonial government, kept his studio open to document generations of families in Cameroonian society for more than 57 years. Though he lost his sight to cataracts in 2007 and passed away in 2020, his legacy continues through archives and museum exhibitions worldwide. His vintage black-and-white gelatin silver prints explore individuality, familial relationships as well as the captivating sense of style of Cameroonians in a newly independent Yaundé.
SCMA co-curator Aprile Gallant explained how she organized thematic groupings to help viewers connect with each image. Because the details of the identities and specific context of Kameni’s subjects are unknown, Gallant and her peers provided context through interpretive themes to guide reflection. These included the development of studio portraiture, fashion, close-ups, props and relationships. Museum text throughout the gallery poses questions to prompt engagement (“What do their gaze, expression and posture tell you about their relationship?”) while flipping the question’s focus to be directed at the viewer themself (“What story do your own fashion choices tell about you?”).
One photograph depicts a composition of three women posing with purses and wearing traditional Cameroonian custom-printed fabric, their hand gestures symbolizing the statement “I Love You” in the Beti language. Another captures a man sporting bold sunglasses, his confidence becoming a statement of its own. Viewers can engage with the photos’ details to interpret and discuss what unique stories and occasions may have brought these moments to life.
“[Kameni] wants to show them in their best light,” Gallant explained. “They would show up dressed and with the people that they wanted to be with. He would try to get them comfortable and then just wait for that perfect moment, and take the photograph.”
Kameni defined himself as a businessman and an artist with a speciality in the recto/verso technique, which creates a stunning mirror effect of dual figures from the negatives of photos. His artistic photographic portraits are nyanga, or bragging photos, meant to be cherished by loved ones or document important moments.
The exhibit also features a photo studio similar to Kameni’s, an intimate setup with two cushion seats, backdrop, props, lighting and a tripod. (Props were central to West African studio photography.) The space mirrors Kameni’s specific layout, with a neutral background and patterned rug. Visitors have the opportunity to create their own personal art, to love and share with friends back home.
“The idea for the studio came out of the focus group, who were really excited by the idea that people could look at the studio photographs and have the experience of being in the studio and try to depict themselves,” Gallant said.
After organizing a feedback session on the exhibit with faculty, students and community members, Gallant said the team learned that many students were especially interested in historic African studio photography. The exhibit now serves not only as a showcase of Kameni’s work, but also as a window into Cameroonian history amidst its golden age of independence.
“Obviously many people in Western Massachusetts are not at all familiar with the history of Cameroon, which is incredibly complicated,” Gallant said.
The exhibit includes a video interview with Kameni, where he states that “Ideas were created to be shared with others.” Kameni’s exhibit is a reminder that artistic collaboration is beneficial for our collective memory. It allows us to remember and commemorate specific moments of our lives. As we continue to document our years at Smith, we can think of the inspiring attention to detail and charisma of Kameni’s photos, while we continue to share our own nyanga with those close to us.
“Michel Kameni: Portraits of an Independent Africa” is on display until Jan. 4, 2026.
