Nana Baakan Okukuranpon Yirenkyiwa

My name is Nana Baakan Okukuranpon Yirenkyiwa. I am also known as “Mama” or “Sister” Zamye, since age 17, when I met the late Baba Elombe Brath, who gave me the name, Zamye. Baba Elombe was my mentor in “the Movement”. He helped to raise my political awareness to a higher level. Baba Elombe’s whole family, including acclaimed photographer, Baba Kwame Brathwaite and the entire AJASS/Patrice Lumumba Coalition embraced me and my siblings. So I dedicate this bio to them and all of my extended family. 

     In my journey as a Grandassa model, there are many people to acknowledge. By the time I got involved in the 70’s, I was in my first year of college. Back then, there was a lot of political and social activism in communities, high schools, and colleges all over the country, and all over the world. Africa was breaking free from neocolonialism and apartheid from the major European and western powers, including Portugal, France, the Dutch, Belgians, England, Germany, and the United States, who were all involved in the oppression of our people in the motherland. We took these issues very seriously. Countries such as Guinea, Conakry, Guinea Bissau and Principe, Namibia, Mozambique, Angola, and South Africa were the focus of the Afican Liberation Support Committee, ALSC, where I met Baba Elombe. I was already wearing my hair natural by upbringing and self development. I was already evolving more into my African identity. So when Baba Elombe and I met at the meetings, we formed an instant connection. He was so brilliant, creative, and dedicated to the cause of African Nationalism and African liberation. Baba Elombe enjoyed connecting with, and mentoring young people through direct action and the teaching of our history. He made connections between the Honorable Marcus Moziah Garvey, Carlos Cooks, Queen Mother Moore, Malcolm X, and so many more. The past, present, and future were linked. This included the image of the African woman.

When I became a Grandassa Model, not only were we a group of beautiful African models, we had become a symbol of African resistance to all forms of oppression for our women and people. Aside from taking photographs in different poses and attire, we performed poetry, and recited words of great African leaders as well as our own original writings. We were coached to express the depth and intensity of the messages the authors tried to get across to their audiences. We continued the tradition of wearing African attire, and shared poems that reflected the love of the African mother or partner. But we also wore attire that reflected the messages and theme of the words we recited. For example, we wore camouflage outfits when we recited “Boom! Boom! The Pirates Have Come!” by the Honorable Late President Sekou Toure of Guinea, Conakry. This represented the role of women in the forefront of the armed liberation struggles that were being waged in Africa. We also wore our traditional African oufits when we performed Osagyefo Dr. Kwame Nkrumah’s words, and sang, “Ye Bedzikunyim! (We Shall Be Victorious!)”, with the legendary musician, Joe Mensah of Ghana, and his band. Once I wrote and recited an original poem in my attempt to express the disappointment and anger of a black woman, which the AJASS/PLC members were very supportive in helping me to rehearse and recite. I was trying to express myself in a whole new way, which may not have mirrored my own personal experience at that time, but I felt it as part of the experience of many black women.