. . . as far as the regime is concerned, well, the play is sheer terror for them. Because they feel, How dare - how dare anybody lift his or her voice in criticism against us? We have the guns. Their level of paranoia and power-drunkenness is unbelievable.
I believe that each writer must decide in which language he or she is most comfortable.
The media must be used effectively to reach the masses. You have to find a new language in which to address the people and demonstrate what is possible.
Colonialism bred an innate arrogance, but when you undertake that sort of imperial adventure, that arrogance gives way to a feeling of accommodativeness. You take pride in your openness.
We all have our individual artistic temperaments as well as partisanships in creative directions. And we have strong opinions on the merits of the products of our occupation.
Intolerance has always been with us, you know. The moment you have ideology, we have intolerance, whether it's the secular ideology or, you know ideocratic ideology, which always brings with it some kind of intolerance.
Mythology can be used, and has been used, even to re-state, you know, the very urgent problems of the world.
I'm not one of those writers I learned about who get up in the morning, put a piece of paper in their typewriter machine and start writing. That I've never understood.
The very function of creativity, of the elaboration of the human condition only enlarges the human spirit and, I mean, as a writer I don't want to read political literature all the time. It would be terribly boring and, you know, abrasive, but just reading the insights, you know, partaking of the insights of a writer into phenomena, into society, into human relationships, both on a micro level and on a macro level, is already a function.
Everybody knows that fraternities are a normal culture in all colleges. It exists in all colleges. President Clinton was a member of a fraternity. In fact, anybody who goes to College in the United States is a member of a College fraternity. There is absolutely nothing evil or occultic about fraternity.
The gods in Yoruba mythology are not remote at all. They're benign, they're malign, they are mischievous, like Eshu for instance, tricksters, rascally, fornicators, that's a similarity to Greek mythology, for instance, you know. They're not saints, they're not saints. They're powerful. It's why they're not tyrannical. Of course, a number of them are also very, you know, benevolent, you know, there are saintly virtues to be found in them.
You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.
The process of decolonisation in Nigeria was a very untidy one. The British, when they were leaving finally and knew exactly who they wanted to take over, they wanted pliant government, figures, structures, they wanted to continue indirectly in effect their control over much of their colonial possessions and this was one of the very early causes of conflict.
I was born into a Christian household, in a parsonage in fact, so I grew up in sort of a missionary atmosphere but it was an environment which involved both the traditional religions as well as the Muslim religion, so we were exposed to all the various facets of faith, micro cultures which existed within those beliefs, and even though I've lost whatever Christian faith was drummed into me as a child, I still maintain very good relationship with all the various religions.
But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.
Writers are human. I shudder to think how I must sometimes appear to others.
Given the scale of trauma caused by the genocide, Rwanda has indicated that however thin the hope of a community can be, a hero always emerges. Although no one can dare claim that it is now a perfect state, and that no more work is needed, Rwanda has risen from the ashes as a model or truth and reconciliation.
I am a glutton for tranquility.
There is not a special imposition on writers to be activists. All that does is encourage writers to write propaganda.
I rarely use mythology for its own sake because, as a theatre person, the mythological figures are in fact humanity to the ninth degree and Yoruba mythology in particular has fascination of being one of the most humanised mythologies in the world.
Boko Haram represents the ultimate Fatwa of our time. The question is does the sect's Fatwa represent the articulated position of the majority of Muslims in this nation? My reading over the last few years is an unambiguous no. We are undergoing an affliction that many could not have imagined about a decade ago. Let us confront the ultimate horror now. To remain inactive at this moment is to betray our children and to consolidate the ongoing crimes against our humanity. We must take the battle to the enemy...We sent our children to school; we must bring them back to school.
I happen to be unfortunately temperamental. No, my temperament is also, what you describe to rainfalls, the will of society, to combat a number of contradictions. That happens to be my creative temperament.
In European and American society, many pundits started to lament the death of literature; looking at youth who were getting more and more attracted to sitcoms - hard, adventure films and said, our children are no longer reading, or else they're reading cartoons.
For me, a writer is already being the deuce of his mission, his occupation to society.
Writers throughout the ages have one weapon, which is literature, but they also have their responsibilities as a citizen when literature does not seem to suffice. I mean, they are not mutually exclusive. One continues to write anyway but if you are called out to demonstrate, if people are being killed in the streets, it's hardly the moment to go for your pen and paper, you know, help in one way or the other.
