(By Sylvester Asoya) - “The
Artist and the Tragedy of a Nation”
On March 28, 1991, the
late Professor ‘Zulu Sofola, Africa’s first female professor of Theatre Arts
delivered one of the most reflective and scholarly inaugural lectures in
Nigeria. Sofola, prolific playwright, astute administrator and scholar par
excellence was at the time, head of the Department of Performing Arts,
University of Ilorin. For those in the audience, the playwright’s superlative
performance was not only outstanding, it was also record-breaking.
An inaugural lecture is
an event of great importance in the life of every academic. It provides a rare
opportunity for the newly elevated professor to inform his or her colleagues, the
university community and the public of his or her research outcomes and plans
for the future. Sofola, who had returned from her sabbatical leave in the
United States two years earlier, used the occasion to speak, and eloquently
too, on the artiste and a nation on the edge.
In 1991, Nigeria’s
tragedy was not close to home. For instance, the chaos in public universities
today was only incubating and hope was not a scarce commodity. Apart from the
fact that there were a good number of Nigerians with discretionary incomes in
the middle class, prices of goods and services had not hit the roof, despite
Ibrahim Babangida’s voodoo economics. Today, ignorance, hopelessness,
ineptitude and disillusionment reign supreme and nothing is being done to
reduce poverty, promote inclusive growth or engender hope.
All over the world,
scholars, writers, musicians, painters, dancers and everyone in the creative
chain receive a measure of attention and respect for their ideas and power to
see beyond what is visible to the ordinary eye. Chinua Achebe, the renowned
Nigerian novelist belonged to this rare group of creators. A Man of the People,
his satire foretold events that eventually came to pass in Nigeria. In fact, it
was reported that on receiving the advance copy of A Man of the People, Achebe’s
friend and another well-known Nigerian writer, John Pepper Clark exclaimed: “Chinua,
I know you are a prophet. Everything in this book happened except a military
coup!”. Aside from Achebe, Christopher Okigbo, the famous librarian and
outstanding post-colonial English language poet also prophesied his death in
his final poem, Path of Thunder.
Before independence,
Hubert Ogunde, founder of the first modern professional theatre company in
Nigeria played a major role during the struggle for freedom with his companies:
The African Music Research Party, Ogunde Theater Party and Ogunde Concert
Party. There were also other playwrights, composers and culture ambassadors
like Duro Ladipo, Kola Ogunmola and other artistes who took Nigeria’s original
folk operas and ritual poetry to different parts of the world. These patriots
projected and enhanced Nigeria’s image throughout the world, using our rich
culture.
Many years ago, a
researcher told me that under Kwame Nkrumah, the notable Ghanaian leader, no
foreign trip was complete without people in the arts, including homemade
crafts, textile and local souvenirs. Nkrumah knew the power of creativity and
culture and he used it in a way that projected Ghana, positively to the world.
For example, during the civil rights movement of 1950s and ‘60s, Ghana was the
preferred destination for African-Americans and other people of African descent
in the New World. This trend continues, even till this moment as any black man
or woman in search of his or her roots and connection with the African
continent, considers Ghana first before Nigeria.
There is power in the
arts, no doubt. After many years, Nigerians and lovers of Afrobeat still
remember and celebrate Fela Anikulapo-Kuti for his extraordinary life. Is it
not curious that some of us are even searching desperately for a Fela figure to
fight rudderless governments and visionless politicians? The truth is that
Nigeria must tap into the power and progress that come with the arts and
artistes.
As Nigeria battles
continental and global insignificance in this season of unusual things, I know
there are solutions in the arts. Those in the arts sector in Nigeria also know
this. We all appreciate the important roles of foreign cultural centres here in
Nigeria, especially with regard to the promotion of the image and values of
their home countries. So, we must re-think our cultural policy and reach out to
critical stakeholders for a better tomorrow. Nigeria needs to engage the
services of thinkers, dancers, painters, writers, playwrights, scriptwriters,
producers, directors, poets and others in allied vocations for a future that is
already here.
Under Sofola for
instance, drama transcended its traditional boundary and role of portraying
fictional and non-fictional occurrences through performance; it was actually a
vehicle for awareness, mobilization and positive change. And for every
important occasion at the University of Ilorin back in the day, she inspired
something as a memorial, not just for the university community but for
humanity. There was always a relevant play, a script, an exhibition, a workshop,
a dance drama or a cantata to draw attention to social, economic, cultural and
political issues of the day.
As a leader who led from
the front, Sofola was also passionate about theatre practice. She would engage
her students throughout the day and sometimes far into the night to hone their
skills and prepare them for the journey ahead of them. Occasionally, her
commitment to her students and her calling, clashed with her devotion to her
amiable husband, Professor Ade Sofola who endured long hours, either waiting
patiently for her in their car or inside the performing arena.
After enduring a
sleepless night, “Mama”, as Sofola was fondly called, would still return to
campus the following morning for an early lecture, leaving behind, her husband.
The old man would later appear in the department to hand over the house keys
while lecture was already in progress. Usually, Mama would ignore him and
continue to teach until her students drew her attention in their usual
disorderly manner, to her waiting husband. The couple’s amazing relationship is
very inspiring and well known on campus by many students and university staff
who admired these two amazing people from two different ethnic groups. Their
exemplary cross cultural marriage speaks to bigots in our country, particularly
some young people today who refuse to travel and learn.
However, one of Mama’s
biggest assets was her courage, and at all times, she acted in accordance with
her beliefs. I remember during one of those her customized productions,
tailored for special events, a male colleague had hailed the dazzling
performance of the beautiful girls of her department. Unfortunately for the
professor, he openly praised the girls, the expressive dance steps and their “elastic”
buttocks without commenting on the essence of the performance. Immediately,
Sofola roared in the presence of everyone: “So, you saw only the shaking
buttocks and breasts, you did not see humanity on trial? Useless professor!”.
For those who knew her,
they can testify to the fact that she lived her dreams. Sofola loved the
theatre and her students. She was indeed, a great teacher who gave all for the
good of her students and society.
Our country needs
artistes and intellectuals like Sofola. If creativity, which drives the
artiste, remains the use of the mind to create, then government should reach
out to our creators for original ideas. According to Achebe, the trouble with
Nigeria is leadership. If we are all in agreement, then this is the time for
those with solutions to get involved.
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