By Prisca Sam-Duru edited by Osa Amadi

The Committee for Relevant Arts, CORA-The Nigeria Prize for Literature (CORA-NPL) book party, is usually an occasion literary enthusiast look forward to. Its enriching content and the fact that it promotes literature, Nigerian authors and reading culture, makes it a captivating book feast.

Sponsored by the Nigeria LNG Limited, the party is held annually as a literary feast of ideas and life to celebrate 11 authors and their works for making the longlist of the Nigeria Prize for Literature.

This year, the prize which focuses on drama, had Ade Adeniji, Victor S. Dugga, Obari Gomba, Cheta Igbokwe, Christopher Anyokwu, Abuchi Modilim, Abideen Abolaji Ojomu, Bode Sowande, Olubunmi Famioni, Olatunbosun Taofeek and Henry Akubuiro, honoured penultimate Sunday at Shell Hall of the Muson Centre, Lagos. Disappointedly, no female writer made the list for drama in this cycle.

After entertainment and welcome speeches by the General Manager, External Relations & Sustainable Development, Nigeria LNG Limited, Andy Odeh and a member of the CORA board, Ropo Ewenla, the literary proceedings began with Francis Onwuchei, Ropo Ewenla, and others, reading excerpts from the longlisted plays. Themes of migration, politics, domestic violence, mental health etc, all resonate in the works.

During the conversation session moderated by journalist and author, Anote Ajeluorou, the authors disclosed what motivated them to write the plays.

For “The Brigadiers of a Mad Tribe”, Abuchi Modilim said his book is a political satire that mirrors society in relation to migration, Igbo metaphysics, etc. His play “explores greed, chaos, and the ever-nagging socio-political problems that are root of Africa’s inability to make technological strides.”

Abideen Ojomu who connected through the internet, said his play, “The Ojuelegba Crossroads” projects crossroads that represent what the world is going through and the need to project people for what they truly are; not projecting black as evil while white is good. For instance, black apparels are used for mourning, while racism pops up each time there’s a black man. Most importantly, Ojomu believes Africa needs to unite, take control of her destiny. He also cited the civil war noting that the reason for that war has not been resolved and that Nigeria leaders have not been able to reconcile the people which is why it keeps popping up each time there’s an issue. And so, “the play takes us into a town hall to discuss us in an engaging manner.”

Writing “The Boat People”, described as “An out-of-the-box crafting of the experiences referred to as japa, for Chris Anyokwu, was to address the global issue of migration. People migrating from global South to the northern hemisphere; people migrating from poverty and lack to the affluent and opulent metropolitan centres of Europe and America. And due to stringent visa regime of the West, they are denied visa. Also because people are hell-bent on escaping effects of bad leadership, they attempt to migrate through the desert. They end up in rickety boats and finally, in the Mediterranean Sea where they perish.

Olubunmi Familoni explained that his play, “When Big Masquerades Dance Naked”, uses masquerades as a metaphor for political elites who are inaccessible. According to him, the play which exposes the “systemic corruption and criminal alliance in traditional and contemporary political space”, has the kings and politicians unmasked at the end through the people’s resistance against them.

Olatunbosun Taofeek’s “Where is Patient Zero?, is a “topical play full of drama and humour which at the same time, exposes international politics of disease and economy.” Taofeek said his play which was born out of the Covid period intends to help us understand the politics around outbreak of diseases like, Covid-19, Ebola, HIV, etc. One big question Taofeek says the West needs to answer in all of that is, who was the first carrier of the viruses?

And for Henry Akubuiro’s “Yamtarawala, the Warrior King”, it’s interesting that an Igbo man decided to take a literary trip to far north- Bornu State, to campaign for celebration of great men who made exploits in their time. Set in the 16th century, the historical drama according to Akubuiro, explores some great characters in the ancient Kanem Bornu empire not explored like what Ola Rotimi did on Oba Ovonramwen Nogbaisi of Benin empire, Death and the King’s Horseman by Wole Soyinka, etc and William Shakespeare on King Lear, Macbeth, Julius Ceaser, etc. The play is loaded with intrigues arising from succession tussle between two princes. And relating the plot to Nigeria situation in general, Akubuiro’s drama speaks to issues about leadership tussle; a situation where some politicians want to rule over the people by force.

Also, Bode Sowande who connected virtually, said he wrote “Spellbinder” to draw attention to the rising cases of mental health in the society. Sowande’s work is a psychological play that has forgiveness at the root of the resolution of mental instability.

As the discussion progressed, the authors worried that drama has for some time, taken backstage due to people’s love for the screen, besides playwrights hardly get support from corporate bodies to stage their plays.

In response, veteran actress and CORA Matron, Dame Taiwo Ajayi-Lycette MON, pointed out that there was need for playwrights to change their approach to entertainment, noting that not many people read which makes it imperative to reach them through live performances. Her words; “Thank you to our noble laureates for the work you do and to NLNG for making this possible. I hear you lamenting the paucity of performances. I will like all of you to interrogate why we are not having enough theatre. It is not because corporate bodies don’t want to support us…Your writings, ideas should interrogate the conditions in our country. And if you are looking for a channel to get to a wider audience, theatre is where you do that.

“There is a misconception that theatre is for the middle or the upper class. I don’t think so. In my time, I have performed at Mushin, Oshodi, in the streets. The job of an actor is not to prance around on screen but to reach people. It is about dialogue; it is about communication. You have to worry about how your work reaches people, because our job is to change our world. That’s what you are writing about. Is it too much to ask?

“I don’t think it is arrogant for me to think I want to change the world. I think you should be aggressive about getting your work to reach people. It is your job to motivate, galvanise, educate and I dare say to politicise them. It is not about seeking fame nor wealth. If you do what you have to do, wealth, fame and recognition will chase you.

“So join me in this fight to let people know that we are in the business to change the paradigm, to change our world.”