Last Wednesday, Nobel laureate Prof Wole Soyinka, popularly called Kongi, turned 82. The Open Door Series held at Wole Soyinka International Cultural Exchange (WSICE) in his honour, with Nigeria’s survival amid corruption topping the discussions. The art community was at his Ijegba country home in Abeokuta, the Ogun State capital, to celebrate the octogenarian with diverse theatrical performances, essay competitions and a discourse on Corruption: A Battle for the Arts. EVELYN OSAGIE was there.
A night of forest intellectual dances, drama
The evening opened with a dance by masqueraders and other trappings of an artistic feast – symbolic of what was to come.
The dance, dramatic and musical performances were rich accompaniments to the night of discourse on corruption and its place in the polity. Kongi is 82. And what exciting way to celebrate Nobel laureate Prof Wole Soyinka than a dash of colourful creative feasts of a diverse kind.
And so the evening stage was set, right inside Soyinka’s Ijegba Forest home in the ancient city of Abeokuta, the Ogun State capital.
After a long walk through Soyinka’s house to the forest, the ethereal-like amphitheatre hidden behind the trees, venue of the event, added a certain appeal to the intellectual feastings of the night.
It was packed with scholars, social activists, theatre experts and culture enthusiasts. Welcome to the Wole Soyinka International Cultural Exchange (WSICE) at Ijegba Forest.
The yearly event that coincides with the birthday of Soyinka is put together by the Zmirage Multimedia Limited in collaboration with United States-based Global NewHaven.
According to the organisers, besides celebrating Soyinka, the series raises conversations on burning national issues and promotes creativity in the young.
Tagged: Corruption: A battle for the arts, this year’s edition, the seventh, dedicated to Prof Femi Osofisan, featured a night of thrilling cultural/theatrical performances and deep cerebral ruminations and discourses tagged the “advocacy segment”. The night’s feasting was the climax of the WSICE celebrations that featured an essay competition involving 82 secondary pupils from various schools.
“The Open Door Series WSICE began in 2010 is conceived to enrich young minds and engage the platforms of literature, arts and culture in affirming and upholding the dignity of man. As is traditional to the project in the past six years, it is to coincide with the 82nd birthday celebration of the Nobel laureate Prof Soyinka, who is the grand motivation behind the project, and after whom it is named. It is,” according to WSICE Executive Producer Alhaji Teju Kareem.
Plays against corruption
Rousing chants and poetic renditions rent the evening air as a fire burned on each side of the amphitheatre, releasing warmth and smoke that evoked a surreal ambiance. Every section of the floor in front of the audience was the stage. From the market scene to dance and musical performances, each jointly condemned corruptive practices in every spheres of the country.
Yinka Ola-Williams’poetic resurrection and rendition of Soyinka’s Lost Poetry and the humourous yet witty and historical Ricee and Etike Revo Wetin dance-drama, directed by Dr Tunde Awosanmi,also called attention to the role of the masses in a revolution
The two large screens on both sides of a symbolic map of Nigeria made from electric lightings in the forest gave the venue a modern appeal. Open Door Series’ creation – “Corruption”, which might have been erected for emphasis (it was later burnt at the end of the night’s event, symbolising the dawn of a new era of true “change”) stood its middle behind the high and low podiums.
The fluidic nature of the performances was worthy of note. The plays flowed seamlessly into each other and into the discourse, along with the two podiums raised above the floor to accommodate the performers and the members of the advocacy segment.
Akin to the “gods” and “goddesses”, observing the unending script of mankind, the “discourse party” sat on the small stage in front of the big one, watching the performers as if they were part of the cast. This effect, perhaps, was employed by the organisers to lighten the burden of discussing a weighty subject like corruption at an evening feast – and they succeeded.
On the advocacy podium were the special guest of the evening, Prof Osofisan, who was praised for his creative efforts at advocating against corruption; the segment’s chair, Prof Omofolabo Ajayi-Soyinka; the two keynote speakers, Mr Tunde Fagbenle and Prof Segun Ojewuyi, and the four women-discussants – Sola Salako of the “No banking day”saga; Hafsat Abiola-Costello, founder of the Kudirat Initiative for Democracy (KIND); women’s advocate Rose Moses and social commentator Kadaria Ahmed.
One could say that the setting and stationary role of the members of the advocacy segment was, somewhat, symbolic of the indifference of adept individuals towards politics, governance and nation-building – which is typical of a popular adage: “if true masqueraders refuse to dance, mediocre would have a field day on the dance floor”.
The fight against corruption for arts sake
Ajayi-Soyinka put it succinctly in her speech, following the performances and keynote addresses; saying: “Advocacy is a fundamental human quality that should come naturally. However, I recognise that throughout history, we always make one excuse or another if we are unable to help people. The connection between advocacy and corruption, it is that power factor between the privileged and the disadvantaged. Government bears the huge responsibility to lead the way by policy and action. It is the future and survival of the whole nation.”
Her statements opened up the discourse for the night. It was agreed that the arts cannot thrive in an atmosphere polluted by moral decadence and corrupt practices. Artistes were urged to focus on becoming the change they desire to see by expressing it in their works and deeds.
While praising Soyinka for inspiring advocacy in the arts, Osofisan observed that corruption is moral absence that starts from very small things. He called for a holistic change that would involve everybody. He said: “I salute Prof Soyinka 82 times. Some of us started writing because of him. He inspired us to make arts a kind of advocacy for social justice and for humanity. Corruption will not just change by itself. We have to fight for it. The kind of economy we run is such that everybody is forced to steal – not stealing with the gun but stealing with the pen. If we don’t correct this by restructuring the economy, I fear this could go on.”
Citing plagiarism, corrupt practices in the entertainment industry and the media as other forms of corruption, Fagbenle lamented that the arts have been immersed in corruption as the rest of the country from the onset. He said an average Nigerian is “synonymous with corruption” and Nigeria seen as “the incubating room of corruptive activities in the world”.
He warned artistes to be mindful of the messages they send out, especially to children, urging that the arts must lead the way in the battle against corruption “before it kills the arts and us all”.
“It is, therefore, clear that the arts has a leading role to play, not only in the battle against corruption but more importantly, against corruptive influences in society. We must recognise and engage the arts in its activism capacity; and stop the glorification of those corrupting and enriching themselves in our midst,” he said.
In his keynote address, Ojewuyi drew allusions from Soyinka’s Death and the Kings Horseman, which according to him, is 40 years on stage this year. He said corruption should be viewed from political and spiritual points, saying it is unfortunate that Nigeria sacrificed three of its exemplary leaders, such as the late Dele Giwa, the late Chief M.K.O. Abiola and the late Chief Bola Ige.
He said: “Neglecting our women has led to spiritual abyss. The lack of compass in our spiritual life has caused the political misdirection and corruption that we are experiencing. So, the two are tied into one…At this point, let me depart from the play and go to three of our leaders that we have sacrificed, such as Chief Bola Ige, a man who was in charge of our justice system, a potential president of this country, assassinated in his own room and we have all gone about our business – not of living but of dying.’’
