Chapter 2: Whispers of the Orisha
1666words
Inside me, there was a side that did not like the idea of being alone with Dapo, this person who is always thinking they are better than others and trying too much to control things which annoys me. But then again, there was also a small piece of my thoughts becoming interested. Perhaps he had something to present to me, a thing that might create a connection between Chief Olumide's flashy wishes and my dreams of artistry.
With a sigh of giving up, I called for a taxi; the yellow danger moved without care among many cars and people walking. The man driving was thin with eyes that looked playful, he gave me a big smile looking from the small mirror.
"Where to, madam?" he barked over the pulsating afrobeat music thumping from the radio.
I am not certain, I confessed, with my voice showing annoyance. The picture of Iya Wura's face full of wrinkles came to me; it was a face that looked wise and worried.
"Maybe I should go home," I mumbled, more to myself than to the driver.
He laughed softly, a sound that shook the old car. "Home is where the heart feels at peace, madam." Sometimes, the answers you seek lie not in grand destinations, but in familiar places."
His speech carried more importance than I thought, reminding me of the counsel given by Iya Wura before. Maybe finding comfort with my knowledgeable neighbour was the solution. With a newfound resolve, I instructed the driver to take me to her doorstep.
When I entered the dim room of Iya Wura, there was a strong smell of incense and palm oil in the air. From one side where she sat on an old straw mat with her eyes shut focusing, came out soft sounds of Yoruba singing. The blinking light from an oil lamp threw moving shadows on the walls that were decorated with colourful Yoruba cloth wall hangings.
"Eki omo," Iya Wura said with a rough voice, but still it had a calm power when she opened her eyes. Those eyes showed deep knowledge like they have seen many stories during her long time of living. "The spirits have guided you home, child. Come, sit. Tell me what troubles your heart."
Sighing deeply, I sat down on a braided stool across from her and began to tell about the night – my troubles with the work project, meeting Tunde unexpectedly, and having an uncomfortable talk with Dapo.
When I was speaking, Iya Wura paid close attention, her old hand on top of mine giving quiet support. After I stopped talking, we were both silent for a moment, and only the steady singing from somewhere else could be heard.
She started speaking, at last, her voice gentle but strong. "Eki omo, the road you go is covered in uncertainty. However, finding your solution does not come from metal and glass that are without warmth." In the soft voices of the Orisha, these strong spirits that move through our existence, it is found.
Curiosity made a tight knot in my belly. I said again, "The Orisha," feeling the word strange as I spoke it. "I haven't thought about them since I was a child."
Iya Wura laughed softly, a sound like whispering leaves that filled the quiet air. "The tales about the Orishas are not just simple stories, young ones. They represent strong powers that form our world - like love, war, and the making and breaking of things. These forces run inside us, guiding our decisions and forming what will become of us.
Intrigued, I leaned forward. "How can they help me with the Moonlight Glow project?"
"The soul of Lagos," Iya Wura went on, speaking with much respect in her voice, "is like Oshun. Oshun is the Orisha who represents beauty, love and the river. She shows what this city is about – full of life and movement, always changing like a river." Your design must capture that spirit, not the rigid structures of a bygone era."
Her speech touched something deep inside me, creating an unexpected bond. Pictures of Lagos filled my thoughts – the busy markets full of bright clothes, women gracefully balancing fruit bowls on their heads as they walked, and the lively painted walls all over the city. These components, filled with Oshun's energy, might form the base of a design that is innovative.
"But how do I translate this…" I stammered, searching for the right words.
The solution is inside you, child, Iya Wura cut in with a smile that showed she knew much. Listen to your heart for Oshun's soft voices and she will lead your actions. Allow the river to pass within your design, Eki omo. Make it show the enduring spirit of our people, the bright shades of our marketplaces, and capture the power of our women who bear the weight of our city aloft.
A flash of creative thought lit up inside me. The lifeless image of Chief Olumide's overly decorated palace disappeared. In that space, a mix of bright colours and smooth shapes started to form in my thoughts. I imagined a cultural hub similar to a market area, with its walls decorated with paintings showing life scenes from Lagos. Courtyards outside may have performances and classes, helping to build a feeling of community and creative spirit. The structure would show Lagos' deep historical roots and lively energy.
It is beginning to make sense, Iya Wura. I am feeling excited because Orisha, Oshun, is giving me hints of the design in whispers.
A deep smile creased Iya Wura's face. "See, child? The answers were always within you, waiting to be awakened. Now, go. Let the Orisha guide your hand, and create something truly magnificent."
With a fresh feeling of purpose, I said thank you to Iya Wura for her wise advice. When I walked outside, the night air in Lagos was full of energy, filled with chances that were opening up for me.
When the next day came, I reached my studio with fresh determination. The crumpled papers had disappeared and there was no longer an empty canvas. On my desk, there were many colourful paintings and drawings. Every picture showed the lively energy of the city. I drew Oshun, who is a goddess of rivers, into my work to tell Lagos's story with lines and colours.
Time passed quickly, with a strong passion for creativity pushing it. Weeks followed days and slowly my idea for the Moonlight Glow project started to form. The feeling of being frustrated and doubting myself changed into a strong sense of why I was doing this. Now, I'm not only an architect; I have become someone who tells stories by designing spaces that honour the spirit of Lagos.
In the afternoon, while I was nearly done with a very detailed drawing of a wall painting showing Oshun's good gifts to the town, someone knocking made me jump out of my deep thoughts. When I raised my head, there was Dapo at the door entrance.
He appeared different, his normal confidence seemed replaced with a cautious look. His eyes moved quickly across my studio, observing the changed area and the walls decorated with bright drawings.
"Eki," he started, his voice hesitant. "I need to show you something."
A chill of nervousness travelled along my back. Even with the fresh courage given by Iya Wura's advice, a little bit of worry was bothering me. Dapo had something to show me, I wonder how it will change the design that I'm carefully making.
He extended an old-looking envelope to me, his expression showing a level of seriousness that was new to me. "This… this was my grandmother's. She was the last of the true guardians of Oshun's legacy in Lagos."
I felt my breath stop in my throat. The name Oshun is now stamped on my heart with importance that was just realized. I felt both curious and a bit afraid when I slowly moved to take the envelope. When I opened it, an old piece of cloth with worn edges from many years fell out.
It looked like a tapestry – a detailed piece of art made by weaving that showed an image I knew right away. The blue lines of the Ogun River, which stands for Oshun, moved through a bright scene decorated with buildings full of colours and these buildings looked very similar to the design I was working on.
My heart was beating fast against my chest. The tapestry, an old piece from Dapo's family past, reflected the image that came to life in me when Iya Wura spoke her words. Might this be an indicator? Perhaps the Moonlight Glow project was meant to serve as more than a cultural hub – possibly it is intended to connect history with today, symbolizing the lasting essence of Oshun and Lagos city.
"Eki," Dapo's voice interrupted my fast thoughts, "this wall hanging... It looks very similar to your pattern. Is this the same as what you planned for Moonlight Glow work?"
I looked at the wall hanging, and then at Dapo, feeling many questions coming into my mind. Is his changing of feelings real or is something else he has planned? What role did his family's connection to Oshun play in all of this?
How will adding this old history to my design change how Dapo and I work together? What will it do for our project later on? Feeling surprised by this new information and not sure what would come next, I raised my eyes to see Dapo. It was like asking him without words, hoping he could tell me something.
