A man in a dark uniform is slumped on a blue plastic chair. His head is tilted sideways, and a cap shades his face. One hand rests on his lap, the other near a small object, perhaps a folded paper. Behind him, metal shop shutters are pulled down, their surfaces defaced and sun-bleached. The pavement is dusty and nearly empty. To the right, a cart covered with tarp echoes the blue chair. A striped bollard rises beside the man, marking space.
The image holds a quiet suspension: paused labor, vigilance dissolved into sleep. It suggests the intervals that structure urban life—the waiting, the heat, the unofficial rest between duties. The closed shops imply an economy temporarily stilled, while the man’s posture speaks of exhaustion more than choice. The street withdraws from urgency into a fragile, human stillness. Time thickens.
— Olaniyi Omiwale
The photograph was taken in Kariakoo, Dar es Salaam, Tanzania, on 29 October 2025 during the general election. I went there to document the atmosphere in this densely populated area amid online calls from Gen Z for a peaceful protest against the current constitution. While moving through the streets, I encountered a security guard at this moment, which resonated with me, so I quietly captured the image without disturbing him.
I chose this photograph because it carries a sense of irony, a security guard asleep while on duty. At the same time, it opens space for dialogue about the working conditions of such individuals, their position within the social and historical context of my country, and how they are portrayed in society. It also invites reflection on their broader living conditions and how these relate to government priorities and expenditure.
I approach photography as a way of paying attention to what is happening in my society and bringing lived experiences into my creative practice. I use it to critically explore possibilities for starting dialogues around decolonization today. For me, a photograph is not the end of the story but the beginning of a process in my studio, where many images evolve into multimedia installations or mixed-media works that open pathways for reflection on decolonization in contemporary society.
Mihayo Kalaye (b.1996) is an artist and photographer based in Dar es Salaam, Tanzania. His practice explores development, underdevelopment, and decolonization, focusing on the relationship between governments and citizens in African societies. Drawing on Tanzania’s colonial history, he examines how past power structures continue to shape present conditions. Through photography, Kalaye creates spaces for questioning and dialogue, inviting audiences to critically reflect on African decolonization today. See more of Mihayo Kalaye’s work on his website and his Instagram.
