I have been dealing with a problem in my foot for almost two weeks. This might not sound particularly dramatic. It isn't cancer. It isn't an emergency. It isn't even the kind of pain that stops me from going about my day. Which is perhaps why I found myself hesitating. You see, I am a walker. Not the kind of person who takes a stroll every now and then. I walk for two to three hours most days. Walking is how I think, how I clear my head, and how I make sense of the world. If there is one part of my body I should be willing to invest in, it is probably my feet. Yet when I started calling podiatrists in Nairobi, I found myself doing mental gymnastics. The cheapest consultation fee I found was KES 5,000. Consultation. Not treatment. Not scans. Not medication. Just the privilege of finding out what might be wrong. By the time everything was done, the bill could easily reach KES 15,000 or KES 20,000. And suddenly I found myself wondering whether I really needed a podiatrist. May...
In 1974, Marina Abramović performed Rhythm 0 — a haunting six-hour piece that would later be remembered as one of the most disturbing social experiments in the history of performance art. She placed herself in a gallery in Naples, Italy, standing still next to a table with 72 objects. Some were harmless (a rose, a feather, bread); others were violent (a whip, a knife, a loaded gun). She allowed the audience to use any object on her however they wished. She took full responsibility for whatever would happen. She would not resist. At first, the crowd was gentle. They posed her. Kissed her. Gave her flowers. But as time passed, they became bolder. They cut her clothes. Pricked her skin. Marked her with a knife. Someone loaded the gun and placed it in her hand, pointing it at her neck. The crowd, once made up of ordinary people, had slowly turned into something else. When the six hours ended, Marina began to walk toward the audience — no longer a passive object, but a human again. People ...