Lewis offers an innovative review of Lagos Wide & Close: An interactive journey into an exploding city, itself an innovative new media project by Rem Koolhaas and Bregtje van der Haak (The Netherlands: Submarine DVD, 2006). Adapted from the source document.
Olayinka Oluwakuse III, who goes by Yinka, explained that he isn't a full-time fixer for journalists -- or, at least, that he doesn't do it for the money. He does the job (and does it well) because he likes hanging out with people -- whether it's taking them to Makoko, a slum on Lagos' waterfront that, he said, journalists always want to see, or escorting them to the sets of Nollywood, Nigeria's film industry. Yinka is like many other entrepreneurial types in one of Africa's largest cities. Depending on whom you ask, Lagos is home to 15 million people, or maybe 25. Lagos does indeed have its share of people hustling to get rich. But its enormous energy and creativity have other channels too: thriving art, literature, and fashion scenes, for instance. Adapted from the source document.
In: The SAIS review of international affairs / the Johns Hopkins University, the Paul H. Nitze School of Advanced International Studies (SAIS), Band 29, Heft 1, S. 115-120
Livelihood in Colonial Lagos initiates a new line of historical investigation into colonial urban culture, focused on the intersections between daily living and the urban experience. It examines the livelihood challenges that Africans faced between 1861 and 1960 due to the urban planning and development policies of the British government in colonial Lagos. It historicizes the urban livelihood strategies in the informal sector, and it explores how the flow of social capital mitigated the challenges faced by both migrants to and indigenes of Lagos in that time period. Monsuru Muritala illuminates the economic and social history of Lagos with special emphasis on the coping mechanisms adopted by the people under colonial rule
Nota de Juan Temboury: Ver ficha. 25/9/62 ; Una imagen adherida a una cartulina junto a otra fotografía (5893A, 5893B, 5893C, 5893D, 5893E, 5893F y 5893H)
Nota de Juan Temboury: Ver ficha. 25/9/62 ; Una imagen adherida a una cartulina junto a otra fotografía (5893A, 5893B, 5893C, 5893D, 5893E, 5893F y 5893G)