Biyi Bandele (1967-2022): In Memoriam

 

Biyi Bandele (1967-2022): In Memoriam

Biyi Bandele was a generous soul who never failed to give all he could to make others richer. His gifts in fiction writing and filmmaking are immortalized in the many works he authored and produced. The yet to be curated monumental record he made in the last two years with captivating photographs of innocence and experience around Lagos markets and waters will perhaps last longest. From those countless images on Biyi Bandele’s facebook page, I have selected the following painterly shots to begin to consecrate our memory of his enriching our lives.

1: Resting Boats, Ikoyi Island. (16 April 2021) (https://www.facebook.com/profile/581568922/search/?q=ebute%20aro)

After seeing this image, I commented thus on April 16, 2021: “This is "Èbúté Aró" (Indigo Harbor). No doubt. And I beg to be allowed to be unanimous with myself regarding that. Heaven knows you have good eyes. Pardon my speaking in tongues! ” 

2: Market People, Lagos Island (9 April 2021)

(https://www.facebook.com/photo/?fbid=10159749645343923&set=a.10152085282278923)

On seeing this on April 9, 2021, I asked: “Was this staged?” and answered myself with “I don't think so,” and commented further: “But I have to ask because that yellowish wall on the top left corner looks tòmáàṣì (‘to match’) with the colors worn by the women at the center. The first thing that came to my mind as I ‘studied’ this photo is ‘òrùlé bọjà mọ́lẹ̀’ (rafters/rooftops canopied the market), a playful reworking of the saying òrùlé bàjà mọ́lẹ̀ (the roof seats atop the rafter).” Bandele replied on the same day to my comment and question: “Not at all, Prof, it’s not staged. To properly stage a shot like this in the middle of a working market like Ìta Fájì in the heart of Ìsàlẹ̀ Èkó would require the budget of an expensive ad shoot. It was previsualized, though, in the sense that I’d gone there many times, walked past on many occasions knowing that there was a shot I wanted to compose there but I’d always walked past, either because the light wasn’t right or for some vague other reason. And then this one time I was there and everything seemed to come together for a few seconds…”

3: Costume Jewellery Hawker, Balogun (20 July 2022)

https://www.facebook.com/profile/581568922/search/?q=costume%20jewellery

A few weeks before his passing, Bandele posted this image of marvelously ironic compositions: one created by the hawker, another by the displayed items on sale, and still another by the photographer. Again, my other tongue could not stop itself from calling out to “ọmọ alátẹ ìlẹ̀kẹ̀.”

4: Telephone Conversation (May 8, 2021)

(https://www.facebook.com/profile/581568922/search/?q=telephone%20conversation)

Here, the surface calls to the depth, even as ludic mimicry. Art imitates life. Life imitates art. Art imitates art. Bandele points at Soyinka. The picture reminds viewers of the art of doubling in ìbejì icons. After all, ohun to ba jọ ’un la fi ńwé ‘un (likes are compared to likes) 

5: Children of the Market (May 27,2021)

(https://www.facebook.com/profile/581568922/search/?q=children%20of%20the%20market)

This was posted on Children’s Day, an official holiday in Nigeria. Other than saying this image speaks for itself, any other comment will be completely superfluous. 

Even if you have never seen an elephant strut through forests, allow reports of its majestic occupation of its surroundings to lead you. Even if you have never set eyes on the ocean, shouldn’t you be comforted that the seasoning that sweetens your cooked herbs comes from the sea? Biyi Bandele’s art makes me speak in tongues. 

Adéléke Adéẹ̀kọ́