OLADIPO AGBOLUAJE
London-based playwright, Oladipo Agboluaje, is an emerging force in Black British drama. Labeled as “an exciting, vital new voice with a sharp satirical eye,” the dramatist, whose play Iya-Ile (The First Wife) won the 2009 Alfred Fagon Award, was nominated for an Olivier Award for his versatility to write plays that transcend two cultures - African and British. The 46 years old playwright and theatre arts practitioner grew up in the Nigerian tradition of satire. After his recent first-ever Scriptwriting Master Class in Nigeria, Agboluaje spoke to ADEDAYO ADEJOBI about his works, the necessity for a coordinated approach to arts development in Nigeria and the recent criticism about the “ghetto mentality” in Black British theatre
London-based playwright, Oladipo Agboluaje, is an emerging force in Black British drama. Labeled as “an exciting, vital new voice with a sharp satirical eye,” the dramatist, whose play Iya-Ile (The First Wife) won the 2009 Alfred Fagon Award, was nominated for an Olivier Award for his versatility to write plays that transcend two cultures - African and British. The 46 years old playwright and theatre arts practitioner grew up in the Nigerian tradition of satire. After his recent first-ever Scriptwriting Master Class in Nigeria, Agboluaje spoke to ADEDAYO ADEJOBI about his works, the necessity for a coordinated approach to arts development in Nigeria and the recent criticism about the “ghetto mentality” in Black British theatre
NIGERIAN TRADITION OF SATIRE …
I grew up in the Nigerian tradition of satire, which is the main way in which writers attack the establishment .Lots of black plays are set in urban areas but you also have to look at the themes of those plays. The true content of a play is the theme. The cultural aspects make a difference. I approached the workshop as a facilitator, sharing knowledge and helping the writers to look at their stories from a deeper level of structure. My approach is enhanced due to a shared cultural experience with the workshop participants. In Nigeria, it’s easier for me to share knowledge because I can reference Nigerian examples to illustrate my arguments. The writers understand what I’m talking about from a cultural as well as technical point. We created scenarios that are familiar to us and from a story point of view, looked at how many ways the same story can be told. By creating several options for the same story, we look for the best scenarios that offer maximum dramatic impact. The closest experience I’ve ever had to working in Nigeria was when I ran a writing workshop in Brazil. Brazil shares several cultural similarities with African cultures, particularly Yoruba culture.
I’VE NEVER DOUBTED THAT NIGERIA HAS TALENT...
This is my third trip to Lagos in three years. I’ve never doubted that Nigeria has talent. The harnessing of talent is vital to the growth of the creative industries. I’m not saying anything different to what has already been said by many other artistes. Being close to the ground emphasizes the necessity for a coordinated approach to arts development. Decent funding buys time for writers to develop their scripts properly.
I grew up in the Nigerian tradition of satire, which is the main way in which writers attack the establishment .Lots of black plays are set in urban areas but you also have to look at the themes of those plays. The true content of a play is the theme. The cultural aspects make a difference. I approached the workshop as a facilitator, sharing knowledge and helping the writers to look at their stories from a deeper level of structure. My approach is enhanced due to a shared cultural experience with the workshop participants. In Nigeria, it’s easier for me to share knowledge because I can reference Nigerian examples to illustrate my arguments. The writers understand what I’m talking about from a cultural as well as technical point. We created scenarios that are familiar to us and from a story point of view, looked at how many ways the same story can be told. By creating several options for the same story, we look for the best scenarios that offer maximum dramatic impact. The closest experience I’ve ever had to working in Nigeria was when I ran a writing workshop in Brazil. Brazil shares several cultural similarities with African cultures, particularly Yoruba culture.
I’VE NEVER DOUBTED THAT NIGERIA HAS TALENT...
This is my third trip to Lagos in three years. I’ve never doubted that Nigeria has talent. The harnessing of talent is vital to the growth of the creative industries. I’m not saying anything different to what has already been said by many other artistes. Being close to the ground emphasizes the necessity for a coordinated approach to arts development. Decent funding buys time for writers to develop their scripts properly.
In Nigeria, the film industry is diversifying everyday. Different
sources of funds away from the marketers are catering to different
tastes which is a good thing. Distribution is also changing with the
growth of cinemas and the internet. Greater competition can raise the
overall quality of output. In the UK, film isn’t seen as a viable
investment option and so there are pots of government funding and
programmes to assist film makers. In terms of theatre, I’d say the UK
has a more vibrant industry. Again, a lot of funding for theatre comes
from the government. Government money is used to leverage money from the
private sector and also to run community development projects. So,
theatre is not just for entertainment; it is also a tool for informing
people and stimulating change. It’s great to see shows like ‘Saro the
Musical’ and ‘Kakadu’ being produced in Nigeria. Their success can show
investors that theatre is a viable option. In London, there are many
theatres and you can see a different show any day of the week.
Comparatively, Lagos is poorly served in terms of the number of
theatres. Having said that, the National Theatre of Scotland and the
National Theatre of Wales do not run theatre buildings and this enables
them to perform in non-traditional theatre spaces. They take theatre to
the people.
INSPIRATION BEHIND ‘FOR ONE NIGHT ONLY’...
I was asked if I was interested in writing a play about immigration to take on a rural tour. Since I’d never done either, I thought it would be an opportunity to learn to cater for a new audience with a play about immigration. It deals with a topical subject matter. Immigration is definitely a topical issue the world over. People assume that immigration occurs only from South to North. The truth of the matter is that South-South migration is larger. A series of reports recently in the New York Times dealt with this issue. I decided to deal with the issue of Africans migrating to Britain because that was the immediate concern for us here.
INSPIRATION BEHIND ‘FOR ONE NIGHT ONLY’...
I was asked if I was interested in writing a play about immigration to take on a rural tour. Since I’d never done either, I thought it would be an opportunity to learn to cater for a new audience with a play about immigration. It deals with a topical subject matter. Immigration is definitely a topical issue the world over. People assume that immigration occurs only from South to North. The truth of the matter is that South-South migration is larger. A series of reports recently in the New York Times dealt with this issue. I decided to deal with the issue of Africans migrating to Britain because that was the immediate concern for us here.
I focused on the dreams of the two characters, Bode and Eddie. They
want to become international performers and believe that Covent Garden
is the performance venue of the world. I’ve always been interested in
the dreams and ambitions of people, Nigerians in particular. We seem to
have no limit to our dreams and therefore treat barriers as hurdles to
be crossed, legally or illegally. That creates a mindset that can be
threatening to non-Nigerians. But as we say, ‘we know ourselves.’
MY RESEARCH FOR THE SUBJECT...
The research consisted of reading about the personal stories of immigrants and also about how society in general treats them. Again, I point to the notions of dreams and how far people will go to achieve them. For most immigrants, survival is utmost on their minds. Not only personal survival but survival for their families back home. The dangerous journeys have been made for them. These people who have made these journeys; what happens to their dreams? Are they deferred or abandoned as they have to get to grips with their new status in an alien society?
The research consisted of reading about the personal stories of immigrants and also about how society in general treats them. Again, I point to the notions of dreams and how far people will go to achieve them. For most immigrants, survival is utmost on their minds. Not only personal survival but survival for their families back home. The dangerous journeys have been made for them. These people who have made these journeys; what happens to their dreams? Are they deferred or abandoned as they have to get to grips with their new status in an alien society?
DEALING WITH THE THEME USINGA DIASPORA NARRATIVE...
My voice has been created by two societies: Nigeria and Britain. For me that is an inescapable fact whatever politics of writing I might claim. As people of the Diaspora, we inhabit diverse worlds: home communities back home, home communities within the host nation and relationships with other Diaspora communities. We respond to the politics of the society we are in. As individuals, we engage with these societies differently. I’m interested in the place of Africans and Africans in the Diaspora in the world. I’m working on a play with the Theatre Centre that is set in Brazil, which has its own history of relations with Africa. What I find is that Africa has stamped its mark all over the world in many different guises. If I can lend my voice to telling these stories, then I’ve not done too badly as a writer. ‘For One Night Only’ will not speak to black audiences alone. Asians and migrants from other European countries will benefit.
My voice has been created by two societies: Nigeria and Britain. For me that is an inescapable fact whatever politics of writing I might claim. As people of the Diaspora, we inhabit diverse worlds: home communities back home, home communities within the host nation and relationships with other Diaspora communities. We respond to the politics of the society we are in. As individuals, we engage with these societies differently. I’m interested in the place of Africans and Africans in the Diaspora in the world. I’m working on a play with the Theatre Centre that is set in Brazil, which has its own history of relations with Africa. What I find is that Africa has stamped its mark all over the world in many different guises. If I can lend my voice to telling these stories, then I’ve not done too badly as a writer. ‘For One Night Only’ will not speak to black audiences alone. Asians and migrants from other European countries will benefit.
THE CHALLENGE OF CAPTURING THE VIEWPOINTS...
I believe that you can only tell the story you are most familiar with. It will resonate with audiences on its own terms. If you concern yourself with making yourself clear to all and everyone, you end up pleasing no one. If you decide to go non-naturalistic, that is a different matter. But a straightforward narrative has its own momentum that can carry a diverse audience emotionally and intellectually.
I believe that you can only tell the story you are most familiar with. It will resonate with audiences on its own terms. If you concern yourself with making yourself clear to all and everyone, you end up pleasing no one. If you decide to go non-naturalistic, that is a different matter. But a straightforward narrative has its own momentum that can carry a diverse audience emotionally and intellectually.
THE MESSAGE I AM RELAYING TO THE AUDIENCE...
I wouldn’t say there’s an overt message I’m trying to convey. I say that as one who considers himself to be a political writer. The best kind of politics is one that understands that systems are man-made and human beings will respond differently to the same situation.
Understanding the minutiae of life is what I try to do. I’m not one for emphasising the liberal assumption that we are all the same and that my job is then to go on and prove it. That breeds smug theatre, a theatre of recognition, preaching to the converted. There’s no challenge in that.
WHAT I HAVE MISSED IN THE LAST FEW WEEKS...I wouldn’t say there’s an overt message I’m trying to convey. I say that as one who considers himself to be a political writer. The best kind of politics is one that understands that systems are man-made and human beings will respond differently to the same situation.
Understanding the minutiae of life is what I try to do. I’m not one for emphasising the liberal assumption that we are all the same and that my job is then to go on and prove it. That breeds smug theatre, a theatre of recognition, preaching to the converted. There’s no challenge in that.
I’m always excited to come to Nigeria so I don’t miss much when I’m here. I support Arsenal and we get the Premiership here, although I’m fascinated by how much Nigerians love the Premiership. I see people wearing football jerseys of foreign teams. I’m yet to see anyone wear a replica jersey of a local team. I can’t say there’s one thing I love or miss about Nigeria. When I’m here, I’m here. The globalized nature of the world means I can watch Nigerian films and TV anywhere in the world. I eat Nigerian food everyday in London. Most of my friends in London are Nigerian. Travelling by air is much easier than before. I’m happiest when I’m sharing knowledge, so I’d definitely miss the workshop and so I’d love to come back soon to continue what I’ve started with I-Skill-Beeta Arts.
RECEPTION IN NIGERIA...
The reception in Nigeria has been brilliant. The workshop could not have got off to a better start. The participants brought their knowledge and experience to the class so we had vibrant discussions every day. I learned so much from the class about how things work in Nigeria. They all have a stake in seeing better stories on the screen and on the stage. They showed their commitment from day one
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