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ENGLISHMAN IN BENIN CITY, 1981 (Part Nineteen A)
Today I got this email that took me back to 1985. Listen:
“Dear Moyo,
I am sure you may not remember me but I remember you most days. My name is Donald [deleted] and, at the beginning of 1985, when I came to University of Ife as a young recent graduate from Camberwell School of Art you realised I was well out of my depth and kindly took me into your home.
II
II The doctor is Seyi Ogunjobi, an artist in residence at the Obafemi Awolowo University’s Center for Cultural Studies. He has been assisting me to build the ÀKÒDÌ ÒRÌṢÀ. At the exact time the police was storming the construction site of the ÀKÒDÌ ÒRÌṢÀ, Ogunjobi, a Leeds doctorate in creative arts, was moderating a discussion in the lecture theater of the Center for Cultural Studies, at the Obafemi Awolowo University campus. Part of the seminar series of the center where Ogunjobi works, his duties include hosting the seminar series, at which invited guests presents on a regular basis. Yesterday, Ogunjobi was moderating a seminar that I presented, titled, “Invisible Canvas: Painting as Performance in Ile Ife.”
MY NEW WIFE
I met Antonia at a wedding party in Akure in 2011.
The wedding party was inside a high-end hotel, where the big politicians and rich people stay when in Akure.
My friend who was a commissioner had given me a room in the hotel, because I was writing an exhibition catalog, and needed a place with good internet service and constant power supply.
ENGLISHMAN IN BENIN CITY, 1981 (Part Nine)
Madam Ngu finally cornered me in the buka.
If I had any inkling she was coming to that buka that fateful day, I would rather have starved than be found dead there. She had been looking for me for weeks. And I had been evading her. I was trying to break free of her influence and she was trying her very best to ensure that she stamped herself into my art, my being, my style of creating, and my idioms of expression. She had studied at the Royal College in London and was trying to make me a master draughtsman who painted in the European fashion. And I was a radical looking for a way to break out of the western mold of painting.
ENGLISHMAN IN BENIN CITY, 1982 (Part 38)
“Wole Soyinka wants to have a word with Rufus. Tell him to come as soon as possible. Kongi travels out of the country next week,” was the simple message that I got back from Kole Omotosho.
Omotosho was the head of the Dramatic Art Department, University of Ife. He sent a driver to me to collect a manuscript, “Marx and Mask,” written by the brilliant Ghanaian writer, Ayi Kwei Armah.
Soyinka regularly received manuscripts from several writers, and after making copies, he would distribute the manuscripts among his circle of intellectuals who met at least once a week to read and discuss the manuscripts.
A great one has departed.
The greatest custodian of Ifa, the Araba of Ile Ife, Araba Adisa Mokorowale with Moyo Okediji July 26, 2017.