Baba Rowland Abiodun, author of the groundbreaking treatise, YORUBA ART AND LANGUAGE: SEEKING THE AFRICAN IN AFRICAN ART, enlightening the audience at the University of Texas, Austin.
Gọn̄gọ́ sọ ní ọjọ́ ná à. It was an earth-shaking moment, as he took us through the meaning of art and aesthetic as a humanizing tool in the cosmogony of autochtonous African ways of creating and sharing values.
Here is a work of fiction titled THE RETURN
Total fiction.
It is set in today.
This is part One.
I will serialize it until we get to the end.
THE RETURN (PART 1)
He was flying back home for the first time in his life.
At thirty-six, he felt that he had waited a little too long.
A silent demolition is going on.
When I was about 8 years old, I walked from Akarabata Line 2 to Iremo in Ile Ife, a distance of about three miles, every morning, at dawn. I was attending a private coaching class that started at 6 am, two hours before formal classes began at 8 am.
Hanging out with Adetola Wewe on the riverboat on Lake Travis, Austin, Texas.
He is visiting from Nigeria as the first fellow-in-residence, University of African Art at Austin.
BISCUIT BONES.
Let me introduce you to Jẹgúdújẹrá, (Chop-and-quench).
Do you know how the Jẹgúdújẹrá Nigerian eats chicken thigh?
I will tell you:
Set the plate of chicken thigh in front of Jẹgúdújẹrá, and the eyes bulge, opening as wide as possible.
A wide smile distorts Jẹgúdújẹrá’s face into a demonic mask of inner delight.
Jẹgúdújẹrá starts with the flesh. With studied concentration, Jẹgúdújẹrá bites deep into the flesh until the entire mouth is full, with both cheeks bulging.
Yesterday we met again to see if they had hot pepper soup at the local African joint.
Logically, when these simple folks enter a pepper soup joint, it is like Ṣẹ̀lẹ́ enter spirit: matters get philosophically historical like magicadabra.
“We are in October again,” I said, just because the bottle of stout looked chilled.
How could I have missed Obaseki’s car as he followed us from the campus? I prided myself in being careful on the road, paying attention to the vehicles around me, and particularly in making sure that I was aware of my environment.
But as a Yoruba proverb says, one cannot be as clever as the sneak who is observing one’s activities.
The situation was critical. Obaseki was in attack mode and was no longer in full control.
Any careless statement from Gina or me could escalate the delicate matter into a full-blown crisis.
“Obaseki,” I said, “there is a misunderstanding. You are not reading things correctly.”