Rotimi Fani-Kayode

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Rotimi Fani-Kayode
Rayuwa
Haihuwa Lagos, 1955
ƙasa Birtaniya
Mutuwa Landan, 21 Disamba 1989
Karatu
Makaranta Georgetown University (en) Fassara
Pratt Institute (en) Fassara
Harsuna Turanci
Sana'a
Sana'a mai daukar hoto

 

Oluwarotimi Adebiyi Wahab Fani-Kayode (20 Afrilu 1955–21 Disamba 1989) [1] haifaffen Najeriya ne mai daukar hoto, wanda ya koma Ingila yana dan shekara 12 don tserewa yakin basasar Najeriya. An halicci babban jikin aikinsa tsakanin 1982 da 1989. Ya binciko tashe-tashen hankula da jima'i, kabilanci da al'adu suka haifar ta hanyar hotuna masu salo da tsararru.

Tarihin Rayuwa[gyara sashe | gyara masomin]

An haifi Rotimi Fani-Kayode a Legas, Najeriya, a cikin watan Afrilu 1955, a matsayin ɗa na biyu na fitaccen gidan Yarbawa ( Cif Babaremilekun Adetokunboh Fani-Kayode da Chief Mrs. Adia Adunni Fani-Kayode) wanda ya koma Brighton, Ingila, a cikin shekarar 1966, bayan juyin mulkin soja da yakin basasa da ya biyo baya. Rotimi ya tafi wasu makarantu masu zaman kansu na Burtaniya don karatun sakandare, ciki har da Kwalejin Brighton, Kwalejin Seabright, da Millfield, sannan ya koma Amurka a 1976. Ya karanta Fine Arts and Economics a Jami'ar Georgetown, Washington, DC, da BA, ya ci gaba da MFA a Fine Arts & Photography a Cibiyar Pratt, New York City. Duk da yake a New York, yayi zaman abokantaka tare da Robert Mapplethorpe, wanda ya yi iƙirarin a matsayin tasiri a kan aikinsa. [2]

Fani-Kayode ya koma Birtaniya ne a shekarar 1983 inda ya zama memba na Brixton Artists Collective, inda ya fara baje kolin wasu daga cikin shirye-shiryen kungiyar da aka gudanar a dakin wasan kwaikwayo na Brixton kafin ya ci gaba da nunawa a wasu wuraren baje koli a Landan. Ya mutu a asibiti sakamakon bugun zuciya yayin da yake murmurewa daga rashin lafiya mai alaka da AIDS a ranar 21 ga watan Disamba 1989. A lokacin mutuwarsa, yana zaune a Brixton, London, tare da abokin rayuwarsa kuma mai haɗin gwiwa Alex Hirst.

Aiki[gyara sashe | gyara masomin]

Fani-Kayode ya yarda cewa aikin Mapplethorpe na farko ya rinjayi shi amma kuma ya tura iyakokin fasahar nasa, binciken jima'i, wariyar launin fata, mulkin mallaka da kuma tashin hankali da rikice-rikice tsakanin liwadi da haɓakar Yarabawa ta hanyar jerin hotuna a cikin launi da baki da kuma. fari. [3] Yayin da Rotimi Fani-Kayode ya yi iƙirarin Robert Mapplethorpe a matsayin tasiri akan aikinsa, Fani-Kayode yana aiki tare da jigogi na Baroque yayin da Mapplethorpe yayi aiki tare da Classical. [4]

Dangantakarsa da addinin Yarbawa ta faro ne daga iyayensa. Fani-Kayode ya bayyana cewa iyayensa masu bautar Ifa ne, bawan Orisha, kuma masu kula da wuraren ibada na Yarbawa, abin da ya faru da farko wanda ya sanar da aikinsa. Da wannan gadon, sai ya yunƙura don haɗa sha'awa, al'ada, da baƙar fata jikin namiji. Abubuwan da ya faru na addini sun ƙarfafa shi ya yi koyi da dabarun mallaka na Yarbawa, ta hanyar da firistocin Yarbawa suke sadarwa da alloli da jin daɗi. Misalin irin wannan dangantaka tsakanin Hotunan Fani-Kayode da na Yarbawa 'dabarun jin daɗi' an nuna shi a cikin aikinsa, Bronze Head (1987). [5] Burinsa shi ne ya sadar da hankalin masu sauraren da ba su san da shi ba da hada ra’ayin Yarbawa da na Yamma (musamman Kiristanci). Wannan al'ada ta haɗa kayan ado da batsa na addini sun tilasta wa mai kallo gani da tsokana. [6]

Ana iya ganin wannan a farkon aikinsa, musamman "Sonponnoi" (1987). Sonponnoi yana daya daga cikin manyan orishas a cikin pantheon na Yarbawa; shine allahn ciwon huhu. Sakamakon irin karfin da yake da shi, sai ya jawo tsoro har mutane suka ji tsoron fadin sunansa, ya zama bare, yana zaune a karkara maimakon kasa. A cikin hoton akwai wani baƙar fata marar kai, wanda aka yi masa ado da farare da baƙaƙen tabo, yana riƙe da kyandirori uku masu kona a makwancinsa. Fani-Kayode ya ƙawata wannan adadi da tabo don wakiltar ƙanƙara na Sonponnoi da alamun ƙabilun Yarbawa. Kyandir mai kona sau uku akan makwancinsa yana haifar da ma'anar cewa jima'i yana ci gaba har ma a cikin rashin lafiya. Hakanan yana wakiltar yadda bangaskiyar Kirista ta maye gurbin al'adar Yarbawa tare da kawo cuta tare da ita a lokacin mulkin mallaka. [6] A wata hanya, Fani-Kayode ya bayyana cewa wannan Orisha baƙon abu ne, amma ya miƙa saƙon alama na hoton, yana magana da shi ya yi Allah wadai da jima'i a lokacin da yake zaune a yammacin duniya wanda ya ci karo da addinin kakanninsa.

Musamman ya ambaci Esu, manzo kuma allahntakar marar hanya wanda galibi ana siffanta shi da tsayayyen azzakari, akai-akai a cikin hotunansa. Zai zana madaidaicin azzakari cikin da yawa daga cikin hotunansa don bayyana irin nasa sha'awar jima'i. Fani-Kayode na tsakiyar shekarun 1980 ''Bakar Namiji, Farin Namiji'' ya haɗu da jigogin launin fata da jima'i tare da nunin dalla-dalla na dangantakar ibada da Allah. Yawancin wannan aikin yana nuna rashin fahimta da za a iya danganta shi da Esu, wanda ke tattare da dakarun adawa. [7] Da yake magana kan Esu, ya nace, "Eshu yana shugabanta a nan [. . . ] Shi ne Mai dabara, Ubangijin mararraba (matsakanci tsakanin jinsi), wani lokaci yana canza alamomi don ya batar da mu [. . . ] Watakila ta haka ne sake haifuwa ya kasance.” [8] Esu kuma ya bayyana a cikin hoton Fani-Kayode, Babu wani abu da zai rasa IX. Ana fahimtar kasancewar Esu a cikin launi na abin rufe fuska; ta yin amfani da ratsin fari, ja, da baƙar fata abin rufe fuska yana wakiltar Esu. Ko da yake waɗannan launuka suna wakiltar Esu, abin rufe fuska da kansa ba shi da fifiko a yin abin rufe fuska na gargajiya na Afirka; Wannan jigon da hankali yana kusan karkatar da abin rufe fuska don wakiltar babban “ƙaunan Afirka” (masu sukar ra’ayin “primitiveness” wanda jama’ar Turai suka narke). [4]

Fani-Kayode ya rabe-raben ma'anar zama za a iya bincikarsa a cikin 1987 '' Head Bronze." A cikin hoton, ya yanke wani bakar jikin mutum don bayyana kafafunsa da gindinsa yayin da yake shirin zama a saman wani sassaken Ife na tagulla. Ana sanya sculpture na Ife akan faranti, stool, ko tsaunin kafa, kuma an sanya shi da dabara a tsakiyar firam ɗin hoton. Yawanci, kan tagulla a cikin hoton yana nufin girmama Sarkin Ife. Duk da haka, a cikin mahallin hoton Fani-Kayode, ya yi wa masarautar Yarbawa dadi. Hoton yana wakiltar gudun hijira da kuma liwadi, sassa biyu na duniyarsa. Jikin da aka yanke yana nuna alamar rarrabuwar kawuna, matsayinsa yana nuni da jima'insa da sassakawar alama ce ta daɗaɗɗen ƙa'idodin zamantakewar rayuwar da yake ƙoƙarin rushewa. [9]

Aikinsa na ƙarshe, wanda aka ba shi mai suna "Saduwa" (1995), yana nuna haɗakar dangantakarsa da addinin Yarbawa. Da alama yana fitar da ra'ayoyin Yarbawa na sanyi da ƙarfi. Yana nuna cewa "natsuwa ce ta tarayya da duniyar ruhaniya." Ɗaya daga cikin hotunan da ke cikin jerin, "The Golden Phallus," na wani mutum ne mai abin rufe fuska kamar tsuntsu yana kallon mai kallo, tare da dakatar da azzakarinsa a kan wani igiya. An bayyana hoton a matsayin wani abin ban dariya na yadda baƙar fata ke da nauyi a hannun ƙasashen yammacin duniya. [4] A cikin wannan hoton (The Golden Phallus), kamar yadda a cikin Fani-Kayode's Bronze Head, akwai mayar da hankali ga liminality, ruhaniya, ikon siyasa, da tarihin al'adu - ɗaukar manufofin da aka gani a matsayin 'tsohuwar' (a cikin nunin '' gargajiya' 'yan Afirka art.) da kuma sake gabatar da su a matsayin archetype na zamani. [10]

Gado[gyara sashe | gyara masomin]

Fani-Kayode da wasu da dama sun ɗauke shi a matsayin baƙon waje kuma mai kwatancen baƙi. Fani-Kayode, duk da haka, ya yi imanin cewa saboda wannan hoton nasa, ya taimaka wajen tsara aikinsa na mai daukar hoto. [9] A cikin hirarrakin da aka yi masa, ya yi magana a kan kwarewarsa na kasancewarsa baƙon waje dangane da ƴan Afirka, amma kuma yana da mahimmanci a lura cewa an tilasta masa yin hijira. Ficewar da ya yi daga Najeriya tun yana karami ya shafi lafiyarsa. Ya fuskanci jin kamar yana da "kadan ya rasa." [11] Amma sai aka siffata asalinsa daga tunanin waninsa kuma aka yi bikin. A cikin aikinsa, batutuwan da Fani-Kayode ke yi, musamman baƙar fata ne, amma kusan ko da yaushe yakan bayyana kansa a matsayin baƙar fata a yawancin ayyukansa, wanda za'a iya fassara shi a matsayin mai nunawa da kuma gani na tarihin kansa. Yana kwatanta fasahar sa a matsayin "Baƙar fata, ɗan Afirka, daukar hoto na ɗan kishili" Yin amfani da jiki a matsayin wurin da aka keɓe a cikin hotonsa, ya sami damar bincika dangantakar da ke tsakanin sha'awar batsa da dabi'un ruhaniya na kakanninsa. Ƙwarewarsa mai rikitarwa na tarwatsewa, rarrabuwa, ƙin yarda, da rabuwa duk sun daidaita aikinsa. [12] Fani-Kayode ya kalubalanci rashin ganuwa na "Kwanyar Afirka", ko kuma kin amincewa da madadin jima'i na Afirka, a cikin duka biyun.

Duniyar Yamma da Afirka. Gabaɗaya, ya nemi sake fasalin ra'ayoyin jima'i da jinsi a cikin hotonsa, yana nuna cewa jima'i da jima'i suna bayyana tsattsauran ra'ayi da "daidaitacce" saboda al'adun al'adu da zamantakewa amma a zahiri suna da ruwa da kuma ra'ayi. Koyaya, ya nemi musamman don haɓaka ƙima a cikin fasahar zamani na Afirka, wanda ya buƙaci shi ya magance abubuwan gadon mulkin mallaka da na Kirista waɗanda suka danne ƙiyayya da gina ra'ayi mai cutarwa na baƙar fata. A lokacin da ba a wakilta masu fasaha na Afirka, cikin tsokana ya tunkari batun ta hanyar yin magana da kuma tambayar abin da bakar fata ke yi. (charlotte) Ana iya fassara tasirinsa na homoerotic a cikin yin amfani da jikin namiji baƙar fata a matsayin bayyanar da manufa, sha'awa da abin da ake so, da kuma sanin kai don mayar da martani ga jikin baƙar fata da aka rage zuwa abin kallo. [13] Ya iya nuna wa duniya da waɗanda ke cikin duniyar fasaha kawai nawa baƙar fata muryoyin ke da mahimmanci. Ba da labarin bangaran su kuma ba wai kawai batun abin da wani ya kwatanta su ba.

Ba wai kawai ana yabon Fani-Kayode ba saboda ra'ayinsa na ra'ayi na Afirkanci da ƙwazo (da ƴaƴan Afirka), ana kuma yaba masa don iya haɗa siyasar kabilanci da jima'i tare da lalata da kyan addini. Wani mai suka ya kuma bayyana aikinsa a matsayin "neo-romantic," tare da ra'ayin Hotunan nasa suna haifar da ma'anar kyakkyawa mai wucewa. [12]

Ayyukansa suna cike da wayo, ban dariya, da sharhi na siyasa da zamantakewa. Ya kuma ba da gudummawa ga muhawarar fasaha da ke tattare da cutar HIV/AIDS. [14]

nune-nunen[gyara sashe | gyara masomin]

Ya fara baje koli a cikin 1984 kuma ya halarci nune-nune da yawa a lokacin mutuwarsa a 1989. An baje kolin aikinsa a Burtaniya, Faransa, Austria, Italiya, Najeriya, Sweden, Jamus, Afirka ta Kudu, da Amurka.

Fani-Kayode ya fara baje kolin a babban gidan wasan kwaikwayo wanda Brixton Artists Collective ke gudanarwa. Ya baje kolin a cikin nunin rukuni guda uku a Gidan Gallery: Babu Sharhi, Disamba 1984; Ganin Diversity, Fabrairu 1985 da Nunin Membobi na Shekara-shekara, Nuwamba 1985.

  • Bambanci iri ɗaya, nunin rukuni a Aikin Kamara, Yuli 1986
  • The Invisible Man, nunin rukuni a Goldsmith's Gallery, 1988
  • ÁBÍKU - Haihuwar Mutuwa, nunin mutum ɗaya a Cibiyar 181 Gallery (Hammersmith), Satumba/Oktoba 1988
  • Musanya Hoton Hoto na Amurka/Birtaniya, nunin rukunin yawon shakatawa a Camerawork & Jamaica Arts Center, New York, 1989
  • Kwayoyin rigakafin Ecstatic: Tsayar da tatsuniyoyi na AIDS, nunin rukunin yawon shakatawa, Sunil Gupta da Tessa Boffin suka tsara, 1990, Gallery Impressions, York; Ikon Gallery, Birmingham; Cibiyar Fasaha ta Battersea, London.

A cikin 1988, Fani-Kayode tare da wasu masu daukar hoto (mafi yawansu sun taru don Tunani na Ƙwararrun Ƙwararru, Brixton Artists Collective ) - ciki har da Sunil Gupta, Monika Baker, Merle Van den Bosch, Pratibha Parmar, Ingrid Pollard, Roshini Kempadoo da Armet Francis - sun kafa Ƙungiyar Masu Hoto Baƙar fata (yanzu ana kiranta Autograph ABP) [15] kuma ta zama kujera ta farko. Ya kuma kasance memba mai aiki na Black Audio Film Collective . [16] Ya kasance babban tasiri a kan matasa masu daukar hoto baƙar fata a ƙarshen 1980s da 1990s.[ana buƙatar hujja]Bayan mutuwar 1992, an ci gaba da yin wasu cece-kuce game da ayyukan da aka danganta ga Fani-Kayode. [16]

Labarai[gyara sashe | gyara masomin]

  • Saduwa. London: Autograph, 1986.
  • Bakar Namiji/Bakar Namiji. Landan: Gay Men's Press, 1988. Hotuna daga Fani-Kayode, rubutu daga Alex Hirst.
  • Jikunan Kwarewa: Labarun Game da Rayuwa tare da HIV. - Nunin rukuni a Camerawork a cikin 1989
  • Hotunan auto. Kamara RF-K Maris 1990 (An haɗa shi a cikin talla don nunin amma ba a nuna aikin ba saboda mutuwarsa ta kwatsam a cikin Disamba 1989).
  • Nunin Tunawa da Tunawa da Tunawa. 198 Gallery, Disamba 1990 (Brian Kennedy, Mujallar Iyakar Birni, ta nemi gudummawar don ba da kuɗin nunin. ) Rubuce-rubucen kasida ta Alex Hirst da Stuart Hall.
  • Hotuna. Hoton ABP, London, 1996. Daga Fani-Kayode da Alex Hirst. [17]
  • Rarraba Kyamara ta Mark Sealy shafuffuka na 226-232.
  • Da kuma Furen Jini: Rotimi Fani-Kayode, Hoto da 1980s. da W Ian Bourland.

Magana[gyara sashe | gyara masomin]

“An gina asalina ne daga ma’anar wani abu na, ko na al’ada, launin fata, ko kuma na jima’i. Abubuwa uku ba su rabu a cikina ba. Hoto shine kayan aikin da na fi jin kwarin gwiwa wajen bayyana kaina. Hoto ne, don haka - Baƙar fata, ɗan Afirka, daukar hoto na ɗan kishili - wanda dole ne in yi amfani da shi ba kawai a matsayin kayan aiki ba, amma a matsayin makami idan zan yi tsayayya da hare-hare kan mutuncina kuma, hakika, rayuwata bisa ga sharuɗɗan kaina." [18]

"A kan abubuwa guda uku ni baƙo ne: a cikin al'amuran jima'i; ta fuskar ɓarnawar ƙasa da al'adu; da ma'anar rashin zama irin ƙwararrun ƙwararrun ƙwararrun aure da iyayena za su yi fata."

“Ina yin hotunana na dan luwadi ne da gangan. Bakar fata daga duniya ta uku a baya ba su bayyana wa mutanensu ba ko kuma ga yammacin duniya wani lamari mai ban tsoro: suna son junansu.”

"Ina ƙoƙarin fitar da yanayin ruhaniya a cikin hotuna na ta yadda ra'ayoyin gaskiya su zama masu shakku kuma su kasance a buɗe don sake fassarawa. Wannan yana buƙatar abin da limaman Yarabawa suka kira dabarar jin daɗi.” [9]

Manazarta[gyara sashe | gyara masomin]

  1. ↑ "Rotimi Fani-Kayode (In Memoriam)" Archived 2016-03-04 at the Wayback Machine, Autograph Newsletter, No. 9, December 1989/January 1990.
  2. ↑ Conversation with the author 1988
  3. ↑ Encyclopedia of Twentieth-Century Photographers.
  4. ↑ 4.0 4.1 4.2 Empty citation (help)
  5. ↑ Empty citation (help)
  6. ↑ 6.0 6.1 Worton, Michael. "Behold the (sick) man." National Healths: Gender, Sexuality, and Health in Cross-cultural Context (2004): 151–165.
  7. ↑ Empty citation (help)
  8. ↑ Empty citation (help)
  9. ↑ 9.0 9.1 9.2 Empty citation (help)
  10. ↑ Empty citation (help)
  11. ↑ Cotter, Holland. Rotimi Fani-Kayode: Nothing to Lose. New York Times Company, New York, N.Y, 2012.
  12. ↑ 12.0 12.1 Empty citation (help)
  13. ↑ Empty citation (help)
  14. ↑ Jean Marc Patras/ Galerie.
  15. ↑ "Autograph Sees Light of Day" Archived 2015-12-08 at the Wayback Machine, Autograph.
  16. ↑ 16.0 16.1 GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture.
  17. ↑ Extract. Revue Noire.
  18. ↑ "Traces of Ecstasy", Ten-8, no. 28, 1988.
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