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coresbrilhantes · 7 years ago

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Brazilian Artist Launches Performance about African Diaspora and Environmental Racism at Osun-Osogbo Sacred Grove Festival in Nigeria

Amália Coelho sees herself as a body from the diaspora, born in a quilombola community in the countryside of Minas Gerais State, called Arraial dos Crioulos. During her childhood she moved to Belo Horizonte (capital city), and she became a visual artist and an anthropologist at the Federal University of Minas-UFMG. She is currently a researcher at the Federal University of Recôncavo da Bahia and she works at the junction between anthropology, traditional communities and art.

The artist will be in Nigeria, in the city of Osogobo, from August 19th to 30th 2018, presenting her performance entitled Iporí. She told us about her work, the process of raising money for the trip and her expectations about being for first time in the African continent.

Amália Coelho se vê como um corpo na diáspora, nasceu numa comunidade quilombola no interior de Minas Gerais, chamada de Arraial dos Crioulos. Mudou-se na infância para Belo Horizonte, tornou-se artista visual e antropóloga pela Universidade Federal de Minas-UFMG. Atualmente é pesquisadora na Universidade Federal do Recôncavo da Bahia e atua no entroncamento entre antropologia, povos tradicionais e a arte.

A artista estará entre os dias 19 e 30 de agosto deste ano na Nigéria, na cidade de Osogobo, realizando a performance intitulada Iporí e nos falou sobre o seu trabalho, o processo de arrecadação de verba para a viagem e as expectativas de sua primeira vez no continente africano.

Check out our interview below/Confira a entrevista em Português

Written by/Escrito por Davi Nunes

Translated by/Traduzido por Emi Koide

Davi Nunes: What does Iporí mean?

Amália Coelho: In Yoruba cosmology Ìpòri is one of the elements of the soul, symbolizes the ancestral energy connected to our head (Orí), our ancestor (Eledá) and our destiny (Odu). It is a concept that brings together men in a global chain. Ìpòri relates itself to the placenta and the origin of life. Thinking about this concept, the performance relates water as an element in connection with the placenta, life, fertility, ancestry, the Atlantic crossing and the diaspora.

DN: How are aesthetic elements constituted and what is the message of your performance?

AC: The performance has a national and an international phases - Brazil and Nigeria – and it investigates the African cosmogonic continuities in Brazil, considering water, thinking about the importance of water as an element of life, and also as a metaphor of the diaspora for the traditional black communities.

DN: Water for you is an element of connection, or rather, an element that crosses and connects the history of the Blacks from the African continent and from the diaspora?

AC: Yes. Water is the main research topic of my work as a performer. In the case of this performance, water is intrinsically related to the diaspora, articulating itself with other elements such as the black woman's body, the crossing and the Brazilian candomblé. The performance investigates the relationship between the black woman's body as a symbolic receptacle of the diasporic project and the symbol-object of the "quartinha". “Quartinha” is a religious sign-vessel in the orixá “settlement” in the Brazilian candomblé that symbolizes life, which carries water. It is an element that relates to the placenta and to all the discussion about the continuity of life, about the constant interruption for the black bodies, whether in the form of genocide or environmental racism.

DN: How does your performance work as a counterpoint, or even a manifesto against environmental racism?

AC: The poetics pursued by the performance seeks to highlight the importance of water as a natural and cultural element in black cultures. Water is essential to life and to culture and it is being taken from black and indigenous peoples in Brazil, through land grabbing, control of spring water sources by big companies, mining, dams and etc ... The research starts from a problem related to environmental racism that has to do with my own life trajectory, with the trajectory of expropriation of the black peoples in Latin American territory and it is in this sense that the performance is related to the Osun-Osogbo Sacred Grove Festival, held annually in the city of Osogobo, Nigeria. As an offer, the relationship established between the body of the performer and the Yoruba goddess Oxum, the "quartinha", the placenta, carrying waters from Brazil to be offered to the African goddess. Reconnecting symbolically the lives that relate to the strength of waters and internationalizing the reflection on water management, essential for the autonomy, health and prosperity of traditional communities.

DN: Very interesting. And what is involved in performance (people, institutions)?

AC: The performance is a project conceived by me and Dayane Gomes, another Brazilian black visual artist, and it has the support of the Yoruba Institute for Art and Culture and Circula Minas program in Brazil. We have also launched an online crowdfunding campaign where everybody and institutions can contribute and become partners and supporters of the project.

Be a supporter: www.catarse.me/ipori

[Português]

Davi Nunes: O que significa Iporí?

Amália Coelho: Ìpòri é na cosmologia Yorubá, é um dos elementos da alma, simboliza a energia ancestral ligada a nossa cabeça (Orí), ao nosso ancestral (Eledá) e nosso destino (Odu). É um conceito que une os homens em uma cadeia global. O Ìpòri relaciona-se com a placenta e à origem da vida. Pensando nesse conceito ÌPORÌ a performance, relaciona a água como elemento na sua ligação com a placenta, a vida, a fertilidade, a ancestralidade, à travessia atlântica e à diáspora.

DN: Como é construído os elementos estéticos e qual a mensagem da sua performance?

AC: A performance tem uma etapa nacional e internacional – Brasil e Nigéria – e investiga as continuidades cosmogônicas africanas no Brasil a partir da água, pensando a importância que a água exerce como elemento da vida, como metáfora da diáspora para as comunidades tradicionais negras.

DN: Água para você é um elemento de ligação, ou melhor, que atravessa e liga a história dos negros do continente africano e da diáspora?

AC: Sim. A água é o principal campo de pesquisa do meu trabalho como performer. No caso dessa performance, a água se relaciona de forma intrínseca à diáspora, articulando-se à outros elementos como o corpo da mulher negra, a travessia e a o candomblé brasileiro. A performance investiga a relação que existe entre o corpo da mulher negra, como receptáculo simbólico do projeto diáspórico, e o objeto-signo da “quartinha”. A Quartinha é um recipiente-signo religioso nos assentamento de orixá no candomblé brasileiro que simboliza a vida, que carrega a água. É um elemento que se relaciona com a placenta e com toda a discussão a respeito da continuidade da vida, constantemente interrompida para os corpos negros, seja na forma do genocídio ou do racismo ambiental.

DN: Como sua performance funciona como um contraponto, ou mesmo um manifesto ao racismo ambiental?

AC: A poética perseguida pela performance procura evidenciar a importância da água como elemento natural e cultural nas culturas negras. A água é essencial à vida e a cultura e está sendo destituída dos povos negros e indígenas no Brasil, por processos de apropriação de terras, controle das nascentes por grandes empresas, minerações, barragens e etc.. A pesquisa parte de um problema relacionado ao racismo ambiental que tem a ver com a minha própria trajetória de vida, com a trajetória de expropriação dos povos negros no território Latino Americano e é nesse sentido que a performance se relaciona com o Osun-Osogbo Sacred Grove Festival, realizado anualmente na cidade de Osogobo, Nigéria. Como uma oferta, a relação estabelecida entre o corpo da performer e a deusa ioruba Oxum, a “quartinha”, a placenta, carregando as águas do Brasil para serem ofertadas à deusa africana. Re-ligando simbolicamente as vidas que se relacionam com a força das águas e internacionalizando a reflexão sobre o manejo das águas, essenciais para a autonomia, saúde e prosperidade dos povos e comunidades tradicionais.

DN: Muito Interessante. E quais são as pessoas, instituições envolvidas na performance?

AC: A performance é um projeto meu e de Dayane Gomes, outra artista visual negra brasileira, e conta com o apoio do Yoruba Institute for Art and Culture e do programa Circula Minas no Brasil. Nós também lançamos uma campanha de colaboração na internet onde pessoas e instituições podem contribuir, tornar-se parceiros e apoiadores do projeto.

Seja um apoiador: www.catarse.me/ipori

#AmáliaCoelho #AfroBrazilian Art #Brazilian Art #Performance Art #Brasil #Arte Brasileira #Black Artists #Arte Negra #Contemporary Art #Arte Contemporanea

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olusegundare · 7 years ago

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brother SAMSON AND SISTER DEBBIE’S LOVE STORY CONTINUES

This edition/section of the story is the letter written by brother Samson's former fiancee to him, it is written in Yoruba, but I have translated it to the best of my knowledge for your delight. THE ORIGINAL YORUBA VERSION May 13th, 2013 In d year of Queen of England's absence 4m commonwealth summit, I received dis leta 4m sister Ìgbàyí, my 4mer fianceé and I think it wise 2 make it public thru Facebuk reporter...it is written in Yoruba.Ọjọ kẹjọ osu kẹjọ, ọdun ìjà àhọn lorilẹ ede wa.Si arakunrin Samsoni, Mo pinnu lati ƙọ iwe yi si yin lédè abinibi ki o ba le ye yin gãn, ati kóbã le nitumọ dãdã lọkan yin. Ọjọ nã rèé bí àná nigbati mo fi ilu wa silẹ lọ si olú ìlú orilẹ ede wa titun lati lọ ba ẹniti mo pè ni ẹgbọn (uncle) mi ọkunrin lọhun. Ó yẹ ki nse afọmọ nkankan kótó di wipe ngo tẹ siwaju ninu iwe mi yi ni kíkọ. Mo fẹ ki ẹ mọ wipe ẹni yi kì í se ibatan mi rara. Kò sun mọ mi nipa ìbí kankan. Kì í se ẹgbọn tabi aburo baba tabi iya mi lo bí i. Sugbọn a mọ ara wa nitoripe nibiti baba mi ti nse isẹ tẹlẹ, baba mi ni ọrẹ kan mbẹ ti a npe ni Bonitiri...Bonitiri yi lo mu ẹniti mo npe ni ẹgbọn mi yi wa lati ilu wọn...Wíwọlé ati jijade Bonitiri ati baba mi pọ gidigidi tó bẹ́ ẹ̀ ti awa ọmọ ati awọn miran fi nro wipe tẹ̀gbọ́n taburo niwọn... Lọ́dún ti ọkọ̀ oju ofurufu jabọ ni olu ilu wa tẹlẹ ni Bonitiri gba ekuru jẹ lọwọ ẹbọra...Iƙú u Bonitiri dun enia pupọ...Iyawo ati awọn ọmọ Bonitiri pada si ilu abinibi wọn, sugbọn ẹniti mo npe ni buọda yi bẹ awọn obi mi lati jẹ ki oun mã bawa gbe fun igba díẹ̀, eleyi ti awọn obi mi faramọ. Lasiko to fi mba wa gbé yi, a mã kọ mi niwe...Ó se eleyi titi to fi pari iwe rẹ lọdọ wa, lẹhin eleyi o ri isẹ pẹlu ijọba orilẹ ede wa, ti o si lọ bẹrẹ isẹ nã ni olu ilu wa ti tẹlẹ.Wọn ti n ransẹ simi lati wa ki wọn o ti to bi ọjọ melo kan saju igba ti mo lọ yẹn, sugbọn ti ngo da wọn lohun. Lasiko ti mo gbà lati lọ ki wọn yi, wỌn ti niyawo, bẹ́ẹ̀ ni wọn si ti bimọ, eleyi lo fi mi laya balẹ lati lọ ki wọn. Nigbati mo de ọdọ wọn ni olu ilu wa titun, awọn ati iyawo atawọn ọmọ wọn gbami tọwọ tẹsẹ...Iyawo ẹ̀gbọ́n-ọn mi yi a mã lọ ra ọja ni ilẹ òkèrè ti a si mã lo osu kan tabi meji nigbamiran kó tó pada wale. Osẹ̀ kẹta lẹhin igbati mo de ọhun ni iyawo wọn tun fi orilẹ ede wa silẹ lọ ra ọja nilẹ okere bi wọn ti se ma nse... Nigbato di ọsẹ kẹfa ti wọn ti lọ, nse ni mo ri wipe buọda mi yi n na ọwọ ìfẹ́ si mi... Mò nkọ̀ fun wọn, nitori mo n dahun wipe sebi buọda mi ni yin. Nigbanã lo wa jẹ ko yemi wipe oun kò tan mọ́ mi ni ọnakankan... Wọn ntẹsiwaju lati mã na ọwọ́ ìfẹ́ simi ti èmi na si nkọ̀ fun wọn. Hun! Ni gbogbo asiko yi ko si owo kankan lọwọ mi mọ ti mo le è fi wọ ọkọ jade, kódà owo lati ra akara kékèké eyibo (buiscuit) jẹ ko si lọwọ mi átómbọ̀sìbọ́sí owo lati wọ ọkọ de garaji, sebí bi mo ba tilẹ wọkọ de garaji mba bẹ ọlọkọ wipe ko gbe mi de ilu wa ki n gba owo fun-un ti a ba de ile.O yẹ ki n jẹ ki ẹ mọ wipe ibiti ile wọn wa jinna pupọ si igboro, bẹ si ni onikaluku pẹlu tirẹ ni lọhun yẹn, ko ri bi ilu wa. Mo nfi ọkan gbadura kíkan-kíkan si Ọlọrun wipe ko tete mu iyawo buọda de koto di wipe nkan sẹlẹ, nitoripe ara ti nro fun mi pe nkan buburu kan fẹ sẹlẹ. Sugbọn, gbogbo adura ti mo gba kò gba, bi emi ti ròó. Ohun to jẹ ki n ni ko gba ẹ o ri ka laipẹ. Lọjọkan, nigbati ẹgbọn mi ti ibisẹ de, o ra oniruru nkan wale fun wa, gẹgẹ bi ise rẹ, o si fun mi ni temi, awọn ọmọ nã gba tiwọn. Gbogbo wa jijọ njẹ èso yi ni yarã gbogbogbò, laipẹ, mo ri wipe orun gbé awọn ọmọ lọ, bi mo se gbé awọn ọmọ si yara wọn tan, bẹ lemi nã wọnu yara mi lọ lati sun, agbara kaka ni mo fi wọ yara ki orun to gbe mi lọ... Nigbati o di ãgo meji oru ti mo laju, buọda ni mo ri lẹgbẹ mi, emi ati oun nihoho lori ibusun mi. Págà! Igi dá... Orí i mi gbóná, mo fi ibinu da abara bo wọn... Wọn laju, wọn si wipe ki n ma binu wipe awọn ko le e mu ara duro mọ ni, wọn wipe ọsẹ to kọja lo yẹ ki iyawo awọn de, wọn mi sugbọn o sọ fun awọn pe oun ko le è de mọ titi di osu tombọ...wipe nigbati awọn si ti mba mi sọrọ tẹlẹ, ti mi o gbà, lawọn ba ni ki awọn dá a bi ọgbọn yẹn... Wọn ni ki n ma binu.Mo sọkun kíkorò, sugbọn ọrọ mi ti wa di ọbẹ gé ni lọwọ afi ibinu sọ ọbẹ nu, ọbẹ ti se ohun to fẹ se na... Nigbati isẹlẹ buburu yi sẹlẹ, bẹ́ẹ̀ nã ni mo ranti rẹ, ololufẹ mi, mo rantiọrọ ti a jijọ sọ wipe awa mejeji la ó pa ara wa mọ titi ti a o fi se igbeyawo, ti yo si wa jẹ wipe ẹyin lẹ o jabale mi, ati pe emi nã ni ngo sọ yin di ọkunrin, wipe, emi ni obinrin ti ẹo kọ́kọ mọ laye yin nipa ibalopọ... Mo ri wipe mo ti kuna eleyi... Mo tun ranti ọrọ ti ajọsọ gbẹhin, nipa ti ààlá ti ẹ la. Ngo gbagbe wipe onigbagbọ atata niyin, mo ranti wipe enia gidi niyin, mo ranti wipe onirẹlẹ niyin, mo ranti wipe aladura niyin, mo ranti awọn ọrọ ajọsọ gbogbo, mo ranti awọn eré ti a jọ se gbogbo, mo tun gbé ìwé ti mo nko fọto si, mo tun wo yin dãdã... Mo sọkun sọkun ngo ri ẹni rẹ̀mi lẹkun...sugbọn mo wa sọ fun ara mi wipe ohun to ko dara ni ki npada lọ si ọdọ yin...nitoripe mo ri pe ngo le è mu majẹmu tabi ọrọ ajọsọ temi sẹ mọ, nitorina mo pinnu pe kò ní dara ki n fun yin ni àjẹkù, nitori pe mo ti di àjẹku ko si yẹ yin, nitorinã mo pinnu lati wa ẹlomiran fẹ́ ni olu ilu wa titun na... Laipẹ laijinna mo ri ẹnikan, oun na si ti setan lati gbeyawo, bi a se fẹ ara wa niyi.Ohun to fà á ni eleyi ti ngo fi pada wa, sugbọn gbogbo igba ni mo mã nfi ọgbọn bere nipa yin lọwọ awọn enia ti mo ba mọ to mọ yin...wọn si mã nsọ gbogbo nkan ti ẹ n la koja fun mi, sugbọn ko si ohun ti mo le se si jupe ki n ma fi adura ran yin lọwọ lọ lawọn asiko nã. Laipẹ yi, ni mọn wa sọ fun mi wipe ẹnikan wa to njẹ arabinrin Debbie, wọn wipe awọn nri ẹyin à ti ẹ̀ pọ dãdã, wọn si wipe o dabi ẹni wipe ẹni nã ti gbà lati fẹ́ ẹ yin. Nigbati mo gbọ eleyi inu mi dun gidigidi. Mo wipe "Ọlọrun seun". Mo wipe, "Ọlọrun yo jẹ ko ri bẹ́ẹ̀". Lẹhin eleyi mo tun ran awọn enia lati bami wadi dãdã boya omidan na ti jẹ́ ẹ yin ni "hò o" ati lati mọ iru ẹniti omidan na nse, gbogbo enia lo si jẹri rẹ wipe ọmọ dadã ni, ẹnito lawọ́ ni, onigbagbọ ni atipe ko si ẹni to rí i mỌ ọkunrin kankan ri. Eleyi mu inu mi dun jọjọ, mo wipe, "Ọlọrun seun to san yín ni ẹsan rere, ẹsan ìfẹ́. Mo wipe, "Ọlọrun seun to payin lẹrin", mo wipe, " a jẹ wipe, Ọlọrun kò jẹ ki a pẹ́ ẹ́ jẹun yin ko jẹ ibajẹ", inu mi si dun gidigidi.Mo wa gbã ladura wipe, omidan Debbie yo jẹ obinrin rere ni ọ̀dẹ̀dẹ̀ ẹ yin, ninu rẹ ẹ o ni ifọkanbalẹ, itura, idunnu, itẹsiwaju, igbega, ire nla, ayọ̀ ati alafia, ati wipe Ọlọrun yo fun-un yin ni awỌn ọmọ rere, lọkunrin, lobinrin, ni méjì-méjì, ni mẹta-mẹta lorukọ Jesu. Amin Mo mọ̀ọ́mọ̀ duro di asiko yi ki nto kọ iwe mi yi si yin ni ki ẹ bã mọ ohun ti mo la kọja to mu ki n se ohun ti mo se. Mo duro di asiko yi lati kọwe nã nitoripe emi nã mọnisinsinyi wipe ẹ ti ni ẹni bi ọkãn yin miran, ololufẹ yin, gbigba lẹta mi ko si ni mu ironu wa fun yin. Bi ẹ ba nse igbeyawo, bi ngo ba ni idiwọ nibi isẹ ngo wa, lati ba yin se ajọyọ... Ki nto danu duro, ẹ ba mi ka eleyi ti o wa nisalẹ yi fun arabinrin Debbie. Arabinrin Debbie, ó seése ki ẹ ti mã rí mi ninu aworan ti emi ati ololufẹ rẹ jijọ yà nigbati a fi nfẹ ara wa, sugbọn ngo ro wipe ẹ rimi ri. Mo nfẹ ki o mọ wipe arakunrin Samsoni, àfẹ́sọna mi ana, wọn jẹ ọmọ Ọlọrun ni gbogbo ọna, mo si ni igbagbọ, igbẹkẹle ati idaniloju wipe ẹ o gbádùn-un wọn... Ẹjọwọ, ẹ bami tọju wọn daradara o, ẹ tọju wọn bi ẹgbọ́n, ẹ tọju wọn bi baba, ẹ tọju wọn bi enia Ọlọrun, gbogbo eleyi ni mo pinnu lati se fun wọn toba jẹ wipe a fẹ́ ara wa ni, sugbọn rírò ni tenia sise jẹ ti Ọbangiji, Ọba-Ogo ni ọrọ nã jasi loju temi. Ọlọrun yo wa pẹlu yin, Ọlọrun yo si fun yin se o. Amin. Arakunrin Samsoni, mo fi yin le ore-ọfẹ Ọlọrun lọwọ. Alafia ko wa pẹlu yin lorukọ Jesu. Amin Emi ni, Ìgbàyí. Afiyesi Pataki: Mo mọ̀ ọ́ mọ̀ má kọ adirẹsi mi si i ni o. Sugbọn mo mọ wipe ẹ o ranti bi ọwọ́ mi se ri ni iwe kíkọ, eleyi lo jẹ ki n fi ọwọ mi kọ ọ́ si yin ti ngo tẹ̀ẹ́ ki ẹ ma ba ro wipe itan arosọ ni.

MEANING/TRANSLATION

In d year of Queen of England's absence 4m commonwealth summit, I received dis leta 4m sister Ìgbàyí, my 4mer fianceé and I think it wise 2 make it public thru Facebuk reporter...it is written in Yoruba. In the eighth month of the fight of the tongue in our nation To brother Samson I decided to write this letter to you in our language to give it more meaning in your heart. Just like yesterday was the day I left our town for the new capital of our country to go and meet my uncle.I want to clarify something before I continue I want you to know that this person is in no way related to me. Through birth or family we are not related He is neither given birth to by my father’s elatives nor my mother’s relatives. We knew each other through my father, because where my father was working before, he has a friend called Bonitiri Bonitiri was the one who brought this person I am calling my uncle from their town...The relationship between Bonitiri and my father was so strong such that those who did not know the relationship between them think they were siblings elder brother and junior brother and that is what those of us who are their children felt It was the year that plane crashed in Nation’s former capital, that was the year Bonitiri died...The death of Bonitiri pained everyone greatly. His wife and children returned to their town But this person whom I am calling my uncle implored my parents that they should allow him to live with them (us) for a while and this my parents agreed to During this time that he was living with us, he used to teach me books, home lessons and this he did till he finished his academics. After this he secured a job with the government of the nation and he started work at the former capital of the country He has been sending messages to me for a while, but I used to ignore the message until I eventually left for his place When I decided to go and visit him, he has been married with children that was what gave me the confidence/boldness to eventually go and pay him a visit. When I got to his place at the new capital where he has been transferred to, I was warmly received by everyone in the family, his wife and children inclusive. His wife used to travel out of the country to go and buy things, import things into the country and when he travels like that she may spend a month or more before she returns It was during my third week of staying with the family that the wife traveled out again to go and import good into the country as he used to do After the sixth week of her leaving the country, I saw that this brother/uncle started making advances of love to me. I was refusing all his love bids telling him that he is my uncle and something like that ought not to be heard among blood relatives. This was when he made me realize that we were in no way related with each other. He however continued to make advances of love to me and I was yet rejecting and refusing him Hun! (Huh!) During these times there was no money on me to leave him and return to my parents, in fact the money to purchase common biscuits I do not have let alone have money to board car to the garage, for I know that if I can get money to transport myself to garage, and I discussed with the driver, he may take me home and I will get money for him from my parents I ought to let you know that at the nation’s capital everyone minds his/her business there unlike our area where there are interactions and apart from that, where he lives is very far from the hub of the town where garage is I was internally praying to the Lord to speed up my uncle’s wife’s return before the unexpected happened because I have been having feelings that something terrible is about to happen. But, all the prayers offered were not answered as I viewed it. Why I said it was not answered you will see later One day when my uncle returned from work, he bought different kinds of things home for us, as his attitude, he gave me mine and gave his children theirs. Everyone of us was eating the fruit he bought home for us in the living room and I discovered that the children fell asleep, as I carried the children in to their rooms, I had barely entered my room that I fell asleep. When it was 2;00 am that I opened my eyes I saw my uncle by my side on the bed both us naked) Alas! Tree fell. I became mad within me, in anger I started beating him. He opened his eyes and started begging me that I should not be annoyed with him that he cannot control himself again that his wife ought to return last week, but she did not and had to call that she would not be back until next month. He said since he had been showing me that he loves me before, that was why he decided to use that trick. “Don’t be annoyed he said I cried bitterly. I now discovered that my plight is like a person whom knife injured and the person throws away the knife, the knife has done what it wants to do, it is a Yoruba proverb. After this terrible incident, I remembered you, my love. I remembered our agreement, our discussion that we shall both keep ourselves until we get marry. That you will be the person who will de-flowered me and I will be the lady who will make you a man, that I will be the first woman whom you shall know by sexual intercourse in life. I see that I have failed in this, then I remembered again the dream you dreamt which you shared with me I did not forget that you are a true Christian. I remembered that you are a good person, humble, and a man of prayer. I remembered all our discussions, our plays; I took out my album and started looking at your pictures. I cried and cried but no one to console me, then I said to myself it is not good to return to you. Having discovered that I cannot fulfill my part of the deal/covenant, thus I said I will not give you partially eaten thing, because I have been partially eaten, no longer complete, I therefore decided to look for someone else to marry in the country’s capital Not long after I made this decision, I met with a man and he was equally ready for marriage, that was how I got married This is why I could not come back to you, but I used to ask after you from people whom I know, know you, and they used to brief me of what you are passing through but there is nothing I can do except to be praying for you Not quite long ago, I heard people said they are seeing you and a lady called sister Debbie together. When I heard about this, I was happy and I said thank God After this I sent people to help me make enquiries into the relationship, maybe the lady has responded to your love proposal, may be she has answered you “YES”, I also send them to know the kind of person the lady actually is and everyone I contacted said the lady is nice, responsible, a giver, not stingy, a Christian, above all my sources say, no one has seen her with any male before This makes me extremely joyous and I said, “Thank God for repaying back with his good, the goodness of love”, I again said, “Thank God who has make you smile”, I said, “this then means that the Lord God has not allowed someone like you who ate lately to eat defiled food”, for this I am inundated with joy. I now prayed that, maiden Debbie will be a good wife in your compound/house, in her you will have rest of mind, comfort, progress, promotion, big blessings, joy and peace and that God will bless you with good and Godly children males and females, twins, triplets through her in Jesus name. Amen I deliberately waited till now before I write my letter to you, so that you will know what I have passed through that made me do what I did. I waited till now before writing my letter to you because I now know you now have a new heart throb, a fresh person after your heart, your lover and that taking and reading this letter would not bring pains and anguish of mind unto you. During your Wedding ceremony if I am chanced I will be present to rejoice with you. Before I stop, I want you to read this cloumn to sister Debbie Sister Debbie, it is a possibility that you may not have come across my picture in your lover’s album, the picture we took together when we were dating/in courtship/going out, but I do not think you have seen me before. I want you to know that brother Samson, my former fiancé, he is a real son of God in all ramifications, and I believe, as well as have rest assurance and confidence that you will enjoy him Please help me take care of him very well, take care of him as an elder brother, take care of him as a father, take care of him as a minister/servant of God. All of these I have planned to do for him assuming we get married but man proposes but the great Glorious God disposes. God will be with you, God will help you to do these. Amen. Brother Samson, I commit you unto the grace of the Lord God. Peace be unto you in Jesus name. Amen

I am, Ìgbàyí. NOTE

I deliberately did not write my address on this letter, but I know you will remember how my handwriting is, that is why I have written it with my own hand sop that you will not think it is a folklore/fiction

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