The whole world is going through a hard time caused by the COVID-19 pandemic and Nigeria is no exception. Despite the pains and anguish of the pandemic, there is an ongoing power struggle in Nigeria ahead of the 2023 general elections. A theatre group, Maestro Theatre, at the University of Nigeria, Nsukka (UNN), has staged a drama in the institution to warn leaders of the dangers of being intoxicated with power, especially during emergency, OLADELE OGE reports.
It was a lesson for leaders to buckle up and be more responsible to the led, especially in this trying time that COVID-19 pandemic is ravaging the world.
The lesson came from the Maestro Theatre at the University of Nigeria, Nsukka (UNN), which presented a play, Death and the King’s Grey Hair.
The performance, which is in conjunction with the Department of Theatre and Film Studies,was part of efforts to expand the artistic space in the Southeast
Written by a theatre practitioner, Denja Abdullahi, the play performed in the Arts Theatre of the university dramatised the ancient Jukun mythology of young kings and their rather short reigns.
The play celebrated the rich culture of the Jukun on one hand and warned leaders with a knack for abusing their powers, on another.
In the end, it taught any individual in the position of authority to learn to manage power with the right attitude so that that very power does not destroy the holder or, worse still, make him its slave.
The crew, comprising undergraduates including Oyindamola Adesunloye, Okpe Kasarachi, Obiora Ekwueme, Ezema Precious, Roland Odo, among others, were the delight of art enthusiasts that graced the occasion.
Historically, the Jukun are descendants of the people of Kwararafa, traditionally located in Taraba, Benue, Plateau and some other surrounding states.
The play opened with the wise men representing the people of Shakaga who highlighted the nature of Jukun tradition to the audience.
According to them, Shakaga is a land of young kings and short reigns. It is a peculiar kingdom known for its greeting: ‘May you not live long’ to every king that ever reigned.
It is a taboo in the land of Shakaga for a king to show signs of ageing on the throne. A sprout of grey hair on a king’s head is enough cause for such king to know his time is up.
He must drink poison, die and be reborn as a lion. This ritual serves as a spiritual rebirth for the king to join the kings before him, as the tradition stipulates,
King Esutu who ruled Shakaga at the time decided to damn the age-long tradition. Having experienced the trappings of royalty, King Esutu, against the will of the people, adopted the ‘sit-tight’ stance albeit in a tricky manner.
Incidentally, the monarch had this Yoruba prince who visited him often with gifts. One of the gifts was a black hair dye which the monarch craftily applied on his head to conceal his grey hairs.
King Esutu’s reign had surpassed all his predecessors, creating an atmosphere of anxiety among many of his subjects who felt his time on the throne ought to have expired.
Unluckily for him, during one of his merriments, King Esutu got tipsy, and in his revelry revealed how he had all along been deceiving his subjects with the hair dye.
One of the villagers who eaves-dropped on the monarch filtered the information to some high chiefs who became incensed and eventually sent a poison bearer to him.
In a fit of fury, however, King Esutu killed the poison bearer alongside some of his attackers and eventually fled the throne. His action was seen as a big relief by his subjects who, for long, derided his ruthless end autocratic leadership.
Besides, the play portrayed African culture as a veritable antidote for the continent’s multi-ethnic/religious as well as governance problems.
With respect to Nigeria, the play espoused the fact that regardless of our diversified culture, the nation can find lasting answers to her questions, culturally and not just politically.
Dr Chineye Amonyeze of the Department of Dramatic Performance Arts of UNN, praised the performance.
“It is a resourceful rendering of Jukun culture. It was skillfully created beyond the marginal qualities of the playwright’s script, characters, choreography and rudimentary models which translated into an aesthetic process that was entertaining and mentally stimulating.
“From the tumultuous applause of the audience as the performance wound up, it was apparent that the composite atmosphere of the play’s setting and the central themes raised in the play were well received.”
Dr Amonyeze was not the only member of the audience impressed by the presentation.
Cheta Igbokwe, a final year student of English and Literary Studies, UNN said of the play.
“The performance was both compelling and daring; with actors who treated the play with vigilance—aware and attentive of both the treasure at hand and what was at stake.”
Jude Nnamdi Thaddeus, a second year Theatre and Film Studies undergraduate, noted that not only did the play showcase the Junkun culture but put entertained the audience.
“It is a stage play I would love to watch again and again and of course, one of the best that has graced UNN Arts Theatre”.
Meanwhile, the Creative Director, Maestro Theatre, Ugochukwu Ugwu, said the playwright adopted some technicalities to highlight not just the intoxication of power but the possibility of being in power and yet refuse to be drowned in its fumes.
Ugwu said the drama not only captured the Nigeria narratives but the African political backdrop at large. “I looked and found out that the play is a piece that aptly describes what happens in terms of power tussle across Africa” began Ugwu.
Ugwu explained that the play aptly reflect the current scramble for power among political gladiators in the country; the more reason he chose to show the drama to the Nigerian audience at a time like this,
“There is a tendency for politicians in Nigeria to cling unto power even when it is no longer necessary, or when the people are obviously suffering as a result of the policies of the government in power,” he concluded.
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