This is a throwback!
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ENGLISHMAN IN BENIN CITY, 1981 (Part Twenty-Nine)
Some fire seemed out of Papa Ru as he sat, something which would be clear to someone who knew him well, and might not be noticed by others.
I saw the difference in the grey dim to his eyes. It was less in the bow that formed around his shoulders as he leaned forward on the table, under which Obaseki was hiding. But Rufus was hardly aware of his own body yet. It was the first time he left his room since we carried him there the moment we arrived from burial. He seemed to have a hard time just keeping his face from falling off his head. As if to ensure that did not happen, he pressed his chin into his palm, his elbow resting firmly on the table for support, seemingly carrying the entire weight of his torso.
SILICON PAINTINGS
Eight of my paintings will be shown at an art exhibition opening tomorrow Saturday, November 9, in Nairobi, Kenya.
These paintings I am showing in the exhibition are open—meaning that the paintings have no figures that can be identified as a person, place, object, tree, water or anything else that one could recognize and name. The paintings do not attempt to tell any story, nor do they illustrate any scene. The paintings are open to absorb whatever story the viewers may bring them, and they also assist in opening up the viewers’ minds to excavate memories and ideas that are in the subconscious of the viewers.
ENGLISHMAN IN BENIN CITY 1981 (Part Five)
Obaseki, looked cornered. He certainly was not anticipating an encounter with me at the restaurant. His shrunken face looked collapsed with fatigue. The anxiety that he was feeling was palpable. His face began to twitch. It was bad enough when he saw me entering the restaurant. But the moment I informed him that Rufus was on his way to join us, his system could no longer handle the tension. He stood up. He patted his pockets.
“What is the matter?” I asked him. “Is everything fine?”
“Oh, I was-was-just checking my—my—my pocket. For my-my-my-house keys.”
“And is it in your pocket?”
EYE WITNESS ACCOUNT
Eye witness account, we looked at this work in class today.It is part of much larger door panel carved by a Yoruba sculptor called Dada Arowoogun.He is one of those we refer to as a “traditional” African artist.
EDIBLE URBAN LANDSCAPES AND MOBILE GARDENS
The south needs to cultivate edible urban landscapes.
Nigeria has an ecology that permits the cultivation of food plants throughout the year.
The edible urban landscape means that the cities and town of the south should be cleared of weeds, and every available space must be turned into a vast food-producing landscape, all the way from Ilorin to Port Harcourt.
This young journalist called Sowore.
This young journalist called Sowore.
He reminds me of another journalist called Dele Giwa.
And another journalist called Ken Saro-Wiwa.
Do you know what happens to journalists like them?