When embarking on the journey of recognizing our queerness, a complex tension often arises between our identities as Nigerians and as queer individuals. This tension is exacerbated by the pervasive misconception that queerness is a Western import, a notion that challenges our connection to Nigerian society and culture. To foster meaningful conversations on reconciling these dual identities, where our Nigerianness doesn’t feel disconnected from our queerness, we shine a spotlight on queer Nigerians who have left an indelible mark on the nation’s history.
Uzoma Odimara, widely known as Area Scatter, emerged as a gender non-conforming performer who captured the hearts of audiences in the post-Nigerian Civil War era of the 1970s, specifically in Imo State, Nigeria. Area Scatter enchanted crowds with melodic tunes emanating from their ornamental thumb piano, accompanied by a rich voice and a captivating style of movement and presentation.
Mesmerising audiences and performing for royalty across the East, Area Scatter eventually secured a coveted spot on the immensely popular TV show, Ukonu’s Club.
Notably, they stand as one of the pioneering queer figures to step into the mainstream media spotlight.
In Nigerian parlance, “Area Scatter” refers to a problematic or troublesome individual, a name befitting someone who departed from a conventional and stable civil service job during Nigeria’s optimistic days to pursue a career as an entertainer. It is said that Area scatter disappeared into the wilderness and after a few months, reemerged, adorned as a woman. Area Scatter maintained a connection to their traditional religious beliefs, claiming that the gods granted them supernatural powers, enhancing both their musical talent and femininity. This act of nonconformity shattered established gender norms in post-colonial Nigeria.
As Nigeria distances itself from indigenous practices and adopts colonial religions, our society becomes less tolerant of people who exist outside the gender binary. In the 1970s, Area Scatter lived openly as a queer, gender nonconforming individual, and during that era, there were no laws criminalising integral aspects of their existence.
Area Scatter provides a glimpse into the fluidity and expansiveness of gender, highlighting the substantial role that social and cultural systems play in shaping these norms. Regrettably, in 2024, many queer and gender nonconforming individuals, like Area Scatter, face scorn and are labelled as sinful in Nigeria’s society, which is more influenced by religion than culture. However, there remains a glimmer of hope as individuals akin to Area Scatter continue to exist, defying societal expectations as freely as possible.
