However in 1955, this image was reprinted in Bombay, India, sent to them from Ghana. It is unknown how exactly the image got to West Africa, but it is thought to have been taken from Hamburg by African sailors when they were in Germany. However on its arrival in Africa, locals declared Maladamatjaute to be a resemblance to Mami Wata. The image has since proliferated throughout the African continent as Mami Wata, the snake charmer. On Fait Ensemble suggests in a metaphorical sense, that this image came from Europeans. This is done through the market performance of Papai Wata. Papai Wata, the concomitant to Mami Wata in Beninese traditional ceremonies, symbolizes the European man and is depicted in the video by a white painted face. Mourning A Living Man, 2013 The two-channel video shows two performers toggling between roles—father, wife, adult lesbian, child—to paint a picture of dysfunctional domesticity, tainted by miscommunication, incest, and adultery. Mshoga Mpya (The New Homosexual), 2014 A response to the outlawing of homosexuality in Kenya. This is highly intimate on two levels. First, the performance can be experienced by only one person at a time. The single audience member comes face-to-face with the artist in an enclosed cubicle. Second, during the performance itself, Malinda becomes a vessel through which lived experiences of LGBT individuals are encountered by the one-person audience. The stories were collected by the artist in Nairobi. She accosts this silence by performing her gathered conversations while concurrently preserving the privacy of the individual life stories through the small performance space. Half of Malinda's face is painted with the rainbow flag associated with the LGBT community. She wears gender neutral clothing and a small afro wig to convey androgyny. This suggests that the performance is not so much about gender as it is about the life stories of LGBT individuals being shared. These are just a few of her works, she utilizes many different mediums such as music, drawing and painting, installation and ceramics. Artistic influences A recurrent theme in many of Ato's art works is identity: female identity, black identity, African identity, cultural identity. She has, among other things, examined “africanity”, female stereotyping, women's role and social status in Kenya, but also the influence of architecture on the formation of identity. Like Ato before, Alex dwells in the realm of African Art. That is to say, we know that there are artists