Tag: playwright

  • Novelist, playwright Akinwunmi Ishola dies at 78

    Novelist, playwright Akinwunmi Ishola dies at 78

    A renowned playwright, actor, culture activist and scholar Professor Ishola Akinwunmi has passed on after a prolonged illness.

    He died yesterday in his Ibadan residence at 78.

    Isola, who wrote the popular play Efunsetan Aniwura when he was a student of the University of Ibadan in 1961 died in Ibadan after age-related ailment according to a family source.

    “Baba has gone,” said the source, who preferred anonymity, because he was not authorised to speak on behalf of the family.

    “He had been sick for some time and was getting better. But this morning, he died peacefully. He left a good legacy and his life was a good example for mankind.”

    Oyo State Governor Abiola Ajimobi described the death as a colossal loss not only to his immediate family but to Oyo state, the Yoruba race and the world at large.

    The governor, in a statement by his Special Adviser, Communication and Strategy, Yomi Layinka, said that he received the news of the death of the Ibadan-born culture ambassador and progenitor of Yoruba literature with disbelief and utter shock.

    By his death, the governor said that the state had lost a venerated son of the soil, who devoted his life to the promotion of Yoruba culture through his creative works and huge contributions to the global body of knowledge.

    Ajimobi said: “The late Prof. Ishola was also a blessing to his Alma Mata, Wesley College, Ibadan because he composed the school anthem, which is still in use till date.

    “He was a man of many parts. Not only was he a prolific writer but he was also a talented actor and astute broadcaster who churned out many plays, drama series and box office films.

    “Prof Akinwumi Isola was an unabashed believer in the promotion of the Yoruba language, which he once demonstrated by being the first person to deliver a university convocation lecture in Yoruba at the Adekunle Ajasin University, Akungba-Akoko, Ondo State, which was very unconventional.”

    A friend of the deceased and chairman of Kakanfo Inn and Conference Centre, Dr Lekan Are, who also confirmed the demise of the professor of Yoruba and writer of several Yoruba plays, praised Akinwumi for his passion for Yoruba culture, language and tradition.

    Are said: “When his wife called me this morning and told me that Isola had died, I was shocked because I had visited him two weeks ago he told me that he was getting better. We had a vibrant discussion. He was excited to see me again.

    “This is why I was taken aback by his death. He was a brilliant individual who made Yoruba history popular beyond Africa.

    “He delivered lectures in Yoruba language. He wanted the language of Yoruba to feature prominently in our education system but unfortunately, this did not happen in his life time. May his soul rest in peace.”

    Also, a very close associate of the deceased , a  foremost

    cinematographer, Tunde Kelani confirmed the departure of the famous playwright .

    “Yes, Prof Ishola died this morning in Ibadan. He has been down for about two years now,” Kelani said over the phone.

    Ovation Publisher, Dele Momodu, also confirmed the death in a Facebook post.

    “Sad to receive the news that Nigeria has lost the legendary writer PROF AKINWUNMI ISOLA, my former lecturer and supervisor; author of O LE KU and EFUNSETAN ANIWURA and others… Rest in Peace Sir…,” Momodu wrote.

    Born in Ibadan in 1939, Ishola attended Labode Methodist School and Wesley College in the capital of the old Western Region of Nigeria.

    He studied at the University of Ibadan, earning a B.A. in French.

    He also earned an M.A. in Yoruba Literature from the University of Lagos in 1978 before commencing academic work as a lecturer at Obafemi Awolowo University where he was appointed a professor in 1991.

    Among his most popular plays are Efunsetan Aniwura, Madam Tinubu, Oleku and Olu Omo.

    His works Oleku, Koseegbe, Saworoide, Agogo Eewo and Campus Queen were adapted to film by Kelani.

    He worked with Kelani as a member of a trio of late Adebayo Faleti and late Larinde Akinleye.

     

  • Winners emerge at Beeta playwright competition

    Winners emerge at Beeta playwright competition

    As part of the commitment to bring stage play to the centre-stage, promoting of Nigerian theatre and recognising the importance of telling Nigerian stories, winners have emerged at the recently concluded Beeta playwright completion which took place at Terra Kulture, Victoria Island, Lagos.

    The overall winner Paul Ugbede, won one million Naira. And the first runner-up, Orok Nikita, won five hundred thousand naira and third place winner, Olayiwola Awakan won two hundred and fifty thousand naira.

    The competition is an initiative of Beeta Universal Arts Foundation, founded by Nollywood actress and theatre producer Bikiya Graham-Douglas.

    Speaking on criteria considered in selecting winners of the competition, Graham-Douglas said, “what we really wanted was to have organic Nigerian stories from the youth. So it was a competition that was open to Nigerians between the ages of 18 and 45 and they had to write a Nigerian story. We gave them technical specification that is; how many characters they could have, the length of the play and we even judge people based on their grammar because if you are going to be a playwright, you need to write properly.

    “We also had a panel of judges with the chairman Professor Ahmed Yerima, Shaibu Husseni, Ibiso Graham-Douglas, Kemi Lala Akindoju and Kenneth Uphopho who is the director of the Lagos Theatre Festival. We had representatives from not just the end of the production but the process of the production – from the plays to the rehearsals – so we had everyone represented on our panel and the judges had to read every single play that entered into this competition.

    “I wasn’t really part of the judging process because I had to be fair, I just stayed clear and allowed them to do their job in the capable hands of my judges and I can’t thank God enough for the people I have because they remain committed.”

    Graham-Douglas however stated that the competition goes beyond just the prizes won but a certain percentage will be used to help the winners produce their own plays.

    “It goes a long way they won this price money and a percentage of this price money will be used towards producing their own plays. We are going to produce the winner’s play and with the finalists we are going to take them on a school tour to go and speak to children. We are going to see how the plays from these competitions can get into the curriculum in Nigeria.”

    Expressing gratitude, Ugbede who emerged overall winner, said, “I want to thank God for this because I list expected it, but I believe this is a reward for hard work and a reminder of better things to come. I also believe that Beeta playwright competition is going to be a bigger platform for younger playwrights who are looking for opportunities like this.”

  • Remembering a jewel

    Dr. Adinoyi Ojo Onukaba, former star reporter of The Guardian and informed commentator, playwright, consummate PR practitioner and drama/communication teacher, belongs to the small tribe of accomplished writers for whom the art and science of writing is in their blood. For that rare breed, any material, incident or event in their life or in the lives of others, whether good or bad, can become a good source for writing even a best seller thriller. They can turn some arcane subject; an innocuous incident that may not have been noticed by even the keenest of observers; a sad or traumatic personal event or an intense private grief into a must read piece. This is true of his self-published book Remembering Rachel.

    If this book had been written in the 16th or 17th century when the vogue then was to have long explanatory titles for books which sort of summarises the theme, it would probably have been titled Seven Years of Pure Marital Bliss: An Interesting Account by the husband himself of The Remarkably Short But Immensely Enjoyable Marriage Life of Dr. Adinoyi Ojo Onukaba to former Miss Rachel Ogirri whom He Married on October 12, 2002 and died of Cerebral Malaria in Abuja August 29, 2009 at the National Hospital, Abuja in the hands of sloppy, callous and unprofessional care givers.

    The 290-page coffee table book is an unputdownable account of his fairy tale love affair with his late delectable wife Rachel Ogirri. So gripping is the account of the love of his life that when I started reading it in Abuja on my way to Katsina State by road recently, I did not put it down until I finished it a few kilometres to Zaria in Kaduna State about three hours later.

    Renowned scientist Albert Einstein’s humorous definition of his famous theory of relativity is that ‘’if you sit on the lap of a pretty lady for one hour, it looks like a second and if you sit on a hot stove for one minute it looks like an hour’’. Onukaba’s seven years with Rachel looks like seven seconds and he shows the extreme pain of his loss in the book. Every sentence in the book about Rachel oozes with the author’s passionate love for his dearly deceased wife. You get the feeling that if it were possible to bring Rachel back, Onukaba would have done anything to achieve that goal.

    The book is written to achieve three main goals. To celebrate a life well lived with Rachel though so short it was. Two, to mourn her loss. Three, to lament the decay in our healthcare system as reflected in the poor and uncaring attitude of medical professionals at the nation’s supposed number one medical institution, the National Hospital, Abuja, whose extremely unprofessional conduct the author suspects may have contributed to the death of Rachel.

    The author says the book is his own kind of Taj Mahal to Rachel and that is no idle talk. Rachel dominates the book from the beginning to the end. She is the heroine and no one shares that glory with her. She is the centre of the universe of the Onukaba household and a major planet in the milky highway of the Robert Ogirri family of Ayua-Uzaire in Etsako West Local Government Council of Edo State. Henrietta, Ethel, Oshioke and the author himself feature prominently and may be described as some of the main characters in the book but the story is Rachel’s. Every incident remembered and remarked upon in the book is told in relation to Rachel. Rachel is the orbit, the fulcrum around/upon which everyone in the book revolves.

    The book is divided into 15 chapters each with a short, usually two-word heading and each ending with Rachel. Well planned and produced, every other page is splashed with a full page photograph of Rachel which tells a story of her beauty, her dress sense, an aspect of her life and character and a trajectory in her short but remarkable life. It is not in any way, as the author modestly claims, a modest tribute; it is indeed a monumental literary memorial to love.

    Adopting the breezy, readable, racy and thrilling style he and Dele Olojede had once used in writing Born to Run, the biography of the late Dele Giwa, Onukaba in spite of the enormous pain in his heart, writes a gripping account of his meeting, marrying and living happily after, albeit for only seven short years, with Rachel. It all started with a prophecy. The ill-fated marriage was foretold by a diviner in far-away Iraq. ‘’Towards the end of 1998’’, Onukaba narrates, ‘’Shilan, an Iraqi Kurdish young woman with whom I was in a relationship, had lured me into the home of a Chaldean Christian woman diviner in the northern Iraqi city of Erbil’’. She had brought Onukaba who was then working with the United Nations in Iraq to the Chaldean to know if he was the man she will eventually get married to.

    The diviner studied the coffee sediments in an empty cup she had poured and foretold that Shilan and Onukaba will not go far in their relationship. That Onukaba would return to Nigeria and go through a disastrous brief marriage before meeting the woman he is destined to marry. ‘’Sometimes in April 2002, I was seated in my office in Ikeja. Lagos, when a tall, beautiful lady in black suit and trouser walked in to interview me for a story she had been assigned to write. At the risk of sounding corny, I knew immediately that she was the figure the Chaldean seer had seen in the coffee sediments and had described to me so vividly’’, Onukaba writes. ‘’She is tall, very tall and beautiful. You will be sitting somewhere and she will walk up to you’’, Onukaba said the Chaldean had added.

    Two things stand out about this book. The first is that in spite of the fact that the account is written as a part of mourning a very painful loss, it is, in many places, full of hilarious scenes and recollections. The author gave early notice of this in the introduction (p.8-9) when he told us that the Mughal ruler Shahjahan mobilised 20,000 workers from all over India, Persia and Arabia to build the now world famous Taj Mahal in the Indian city of Agra as a memorial of love to his wife Mumtaz Mahal but that ‘’being not as materially endowed and exercising no royal powers as Shahjahan, I have decided to celebrate the woman who meant the whole world to me by simply writing this coffee table book about her life’’.

    I could not help but jiggle loudly in some other places especially in the chapters Meeting Rachel, Knowing Rachel and Courting Rachel which are by far the most enjoyable portions of the book.

    In the chapter Courting Rachel (page 56-67), the author recounted with some self-deprecating honesty and humour his first time to be formally introduced to Rachel’s family members. ‘’When she first spoke to her family about me, some members expressed concern over the wide age difference between us. Rachel was then 25 and I was 42. Some said age was not an issue. They wanted to know if Rachel was sure she was making the right choice. She said yes’’.

    Rachel was obviously filled with some anxiety as she realised that the wide age gap between her and her would-be husband could cost her the support of some of her people. Wise beyond her years, as her husband described her in another tribute, Rachel took to coaching her intended husband about what to do, say and wear in order to disguise or minimise the age gap. Onukaba himself tells us: ‘’Agbada was ruled out completely so as not to make me look too old. A simple Senegalese-style jumper was picked out for me. I was ordered to get a haircut and to trim my moustache. First impression, I was told, matters a whole lot. I had to make myself likeable’’. The suitor was as anxious as the bride-to-be likeable and accepted by the Robert Ogirri family for he tells us further: ‘’I complied’’, adding: ‘’Love can make a stubborn man suddenly become obedient and submissive.’’

    This particular account of Rachel’s perspicacity and similar others reinforce my own belief that no matter how naïve, inexperienced or innocent a woman might seem to be, she is far ahead of any man, who is even twice her age, in matters of love and relationship. If she wants a man, she knows exactly what to do and will display the kind of uncommon wisdom, go all out to do what is reasonable or expedient in the circumstances to enable her to get the object of her desire.

    The other second thing worthy of note about the book is the courage (love-filled it must be) of Onukaba, a full blooded African man, to publicly tell the story of his love for a woman. You know in Africa, we enjoy love stories but no one wants to tell the intimate part of his own. Love is seen as a women’s thing and no man should be caught confessing love for a woman lest he risks the contempt of fellow men! African men all try to hide their love believing that it is only white people who do such things!

  • The mockery of a nation

    The mockery of a nation

    How does a playwright dissect Nigeria as a theatre of confusion and disorder through drama?  Why is it often convenient or proper to use satire to explain the political issues that confront the nation?  Many older playwrights have done that in the past and it worked.  It worked because, like it is said in an Igbo proverb, that when you want to talk the truth to a King who has been stiff-necked for too long, a King who has never had time to hearken to the cries of his subjects, put a basket on your head and then talk to him through the little holes.

    It is only when your words begin to drop one by one and he can only see your eyeballs as they stick out from the basket holes that he’d know that finally, his people have come to the point where one of them can be bold enough to let him know how they feel.

    In the same way, Emmanuel Ifie has presented the Nigerian situation in a satirised form, using the metaphor of a farm settlement to show the world that Nigeria is a mockery, a country where the leadership is not committed to the project.  In the face of thousand and one problems facing the over one hundred and fifty million people, Boko Haram, Fulani herdsmen’s menace, oil pollution and exploitation, the neglect of the youths of the country and more, the ruling class seems to be in an animal kingdom, babbling away as if nothing matters.

    The title of the play makes it more poignant – Once Upon A Farm and it shows the level of unseriousness on the part of the people who preside over the affairs of the people.  In the prologue, the playwright sets the stage very clearly – the farm consists of thirty-six plots of gardens.  Several of them hold crops, ponds and pans.  Indeed, the gardens in the Northern side consist of dry, receding, over-grazed savannas while the Western part has cash crops.  Even so, the Eastern part harbours dates and other palms, while the South has timber and plywood.  Capping it up are two streams flowing into one to form a confluence, a confluence of confusion and false beliefs.

    Describing the meeting of these two streams as darkness that gives no hope somewhat, he goes on to give names of the strange characters that inhabit the farm settlement.  They include His Excellency called Ram Rod who is now known as the farm prefect, while his deputy is known as Ram Dom.  The manager of the farm, in-charge of Defence is called Ram Nutsy while his Finance counterpart is called Ewe-Ewe.  There are others too.  But the whole essence of all this is to give the state of a country where clowns and impostors inhabit the farm in form of leaders who do not know what to do to save the farmland.

    As the federal executive council sits to resolve the insecurity in the land and proffer ways to safeguard the future, there are discordant tunes.  No one could proffer real solutions to steady the drifting society.  Now, pitched against goats and sheep on one hand and wolves and jackals on the other, it shows crystal clear how the society is divided.  The rich continues to have their way while the poor continues to be at the receiving end.  Indeed the state totters.

    “The nation faces the peril of extinction within a short time,” the playwright says on page 7.  “As you all can see,” His Excellency continues in a form to rebuke the council, “sheep and goats are lean already.  The second threat; Ewes and gentle Rams are the drain on sheep brain…  Our intelligent sheep are making exodus to the greener pastures of other farms abroad to graze.  Secondly, wolves have recently developed a special preference to and appetite for Isi-Ewu.  I mean, Ewes and Rams’ delicacy.   Wolves’ present choice of daily snack is painfully leading to a faster depletion of sheep and sheep’s brain…  The militant Rams, I call them Jackals that are ramming everything in sight-in the North – Easterly gardens…  This siege just has to stop…”

    In a nutshell, that describes the central message of the play and its potency towards a nation-state.  Yet this book done in two parts is too slim for that purpose.  With the part one coming in just 16 pages, it shows a lot of unseriousness.  But again the message is clear – Nigeria has to guide its loins to be able to remain one.  Even though the issue were never resolved since the people couldn’t speak with one voice what is the future of Nigeria?  What can be done to douse the tensions in the land and give peace to the people?  It is all in this Animal tales of Naija Gardens, a book so deep in political mimicry and satire.

  • ‘Our first  encounter with Things Fall Apart’

    ‘Our first encounter with Things Fall Apart’

    Prominent writers and critics recount their first encounter with the late Prof. Chinua Achebe’s first novel, Things Fall Apart, to Evelyn Osagie

     

    It means different things to various people. To some, it is the ultimate African novel. To others, it is a pioneer novel that should be judged based on the time it was published.

    The late Prof. Chinua Achebe’s Things Fall Apart has proved to be a novel, which has surpassed the writer and the publisher’s dream for it.

    Writing it was an experiment; publishing it was also an experiment, but it is one experiment that the world will never forget.

    Prominent Nigerian authors and critics share their first encounter with the book that has been translated into over 50 languages, including Igbo and Yoruba (Igbesi Aye Okonkwo):

    Gabriel Okara, author

    I can’t remember exactly when I first read Things Fall Apart. I think it was in the 60s. And I’ll tell you this, I was really impressed because of how he brought out the frustration and problem that Africans were faced with at the time with the Europeans, particularly the missionaries. I found it interesting because here is a book written in a way I would have liked to write. I was happy that someone had done what I was trying to do in writing our African experience using the English man’s language to explain the African experience. And I appreciated the skills with which he did it.

    Prof. Niyi Osundare, poet

     1965 was when I first read Things Fall Apart. I was in secondary school then. Things Fall Apart came at the right time. It was at a time the WAEC syllabus was being Africanised. We were lucky our set had Things Fall Apart in our WAEC syllabus as the text for prose. We had had texts from African poets like Prof. Wole Soyinka, Gabriel Okara, J.P. Clark, Lenrie Peters (Gambia), Kofi Awoonor (Ghana) and so on. Before Things Fall Apart were terrible books, which were written by Europeans, who portrayed Africans as fools, buffoons, sorcerers, witches, violent and blood-thirsty people. And we as Africans were made to read these books as written by these racists. So Things Fall Apart came as a refreshing alternative. It was the first time we read a novel written by an African that portrays our lives.

    We all loved it. Soon after, we took nicknames from characters in the books. For instance, one of our class mates was called Okonkwo because he was the man of anger. Above all that, those of us from the west found that there were a lot of correspondences between Igbo culture and that of Yoruba, such as proverbs, the role of masquerades, etc. The novel was not just an Igbo novel but one that portrays the traditional African society, which every African can identify with.

    My favourite of his novels is Things Fall Apart. I have taught for over 35 years now. It represents Achebe’s literary essence because of its delicate simplicity.

    Hafsat Abdul, novelist

    I came across Things Fall Apart over 20 years ago. Since then I have read almost all of Achebe’s works. I admired him for writing about his culture and he was the first that wrote such a great book. It was well arranged and Achebe deserves the recognition.

     

    Elechi Amadi, author

    The first time I read Things Fall Apart was in 1958/59 after the excitement of Jagua Nana in 1954 by Cyprian Ekwensi and then the avalanche of the novel started.

    My impression of the book then was that I felt it was well-written. The language was “rock-solid’. He handled the English language competently. In my opinion, compared to his other novels, Things Fall Apart is his best. It was the first novel written by a Nigerian or an African to attain world recognition. And because of that, he became an inspiration to those who wrote after. He galvanised us into action to write books of quality as he had done. Achebe was an inspiration. Achebe was my prefect at Niger House at Government College, Umuahia. We knew each other personally. He was dutiful and dedicated. He always carried a novel at that time. He was always with Thomas Hardy’s novels while strolling around. I feel Achebe ought to have won a Nobel Prize.

    Ahmed Yerima, playwright

    The first time I read the novel was in 1973 when I was in Form Three. I found it captivating and descriptive and it made me feel I was in the village. One thing reading the novel did was to inspire me to desire to write. I marvelled at the lucid use of language. It made me see what I had never been before. At that time it was a boost that challenged contemporary writers. The book has put Nigeria in the literary limelight of the world. I have seen the book in many languages. I have seen Things Fall Apart in India. I remember I met a young man holding a translated copy in India. When I asked him if he had read it, he said the first time he read he borrowed the book from a friend of his and later proceeded to buy his own copy.

    Prof. Ernest Emenyonu,

    author and critic

    My first contact with Things Fall Apart was in the mid 60s. I was a student then. I read it in 1958 in Teacher Training school. My intellectual contact was in 1964/65. I had done a small book on Things Fall Apart meant for teachers and secondary school students who would teach and read it. And when I came to University of Nigeria, Nsukka, in 1965/66, I read it again.

    The first time I read the book, I read it because everybody was reading it. The second time was as a student. My first contact with the book was an exciting one; I enjoyed it. It reminded us of home. By the writing of the book, Achebe opened the door for contemporary African writers of the 21st century and, by his success, he had given them the boldness to write the story of their land, focusing on the traditional African culture, with the use of proverbs as part of its narrative texture. While exalting the strength of the African culture, he condemned the weakness inherent therein like the killing of twins.

    Prof. Akachi Ezeigbo, novelist

    Even though I had heard about it before the war, I read it as an undergraduate in the 70s. It was a big surprise because it was very different from anything I had read in my life. I attended a missionary school and they made us read books written by European authors, like Charles Dickens. I was amazed that literature could be written from the point of view of the African, telling our own story, bringing in proverbs and so on. Before then, all other African writers, like Peter Abrahams, wrote in English but none carried the kind of African colouring that Achebe’s book had, like proverbs, folklores and all. Chinua Achebe reflected the Africaness in his writings.

    Odia Ofeimum, poet

    I actually read No longer at Ease before reading Things Fall Apart.I read Things Fall Apart when I was 13 years old. One funny thing is that the part that stuck to my head in the whole of the book was the evil forest. This may be because there were folklores about it around me. The book wasn’t as effective then, as it is now. In my opinion, Things Fall Apart is not a model African novel but a pioneer novel that needed to be celebrated. It is not my favourite of Achebe’s books; my favourite is Arrow of God. Things Fall Apart made it seem as if fighting for the right things was wrong with the death of Okonkwo. I say it was a good fight. We needed the spirit of Okonkwo to confront evil.

    Dr. Ifeoma Nwoye, author

    I read Things Fall Apart when I was in secondary school in the 70s. At that time, because of the vivid nature with which the story was told I became a participant, especially when the story was from one village to the other. It was so close home and I understood the terrain. And any time one hears others talk about Things Fall Apart, one is moved and becomes a sort of participant.

    My impression of the book at that time because I was young, after reading the book I hated everybody involved in the killing of Ikemefuna: I didn’t like Okonkwo and the men who went with him; I hated the elders for killing Ikemefuna eventually. I didn’t like Chinua Achebe allowing Ikemefuna to be killed. I wondered: why did Ikemefuna have to die? But as I grew older, especially when I became a writer, and today, I look at him differently. As a writer, to make the story real, it must not end the way the readers want or expect. Apart from that, I was at home with the novel; it presented the traditional African society in a vivid manner that every African can identify with.

    •Parts of this report were first published in The Nation during the 50th anniversary of Things Fall Apart.