Monday, November 22, 2010

LABAF 2010: From The Media (1V)

What's going on here... Jelili Atiku in performance

Talking folklore in books

By Akintayo Abodunrin

(234NEXT November 20, 2010)

The quarterly Art Stampede where vital issues in the arts and culture sector are discussed held on the last day of the Committee for Relevant Art (CORA) organised 12th Lagos Book and Art Festival (LABAF).

A panel comprising writer and academic, Akachi Adimora-Ezeigbo; dramatist, Lukman Sanusi; actor, Ropo Ewenla and writer, Dagga Tolar, examined ‘Folklore in Literature, Drama and Film' using four works as case studies. The works were Femi Osofisan's ‘The Adventures of a Sugarcane Man', an adaptation of D.O. Fagunwa's ‘Ireke Onibudo'; Andre Brink's ‘Praying Mantis'; ‘The Hidden Star' by Kabelo Duiker and Ahmadou Korouma's ‘Allah Is Not Obliged'.

The panel: Ropo Ewenla, Daggar tolar,
Akachi Ezeigbo (moderator) and Lookman Sanusi

Interesting topic

Setting the tone, moderator, Adimora-Ezeigbo, noted that the topic was interesting because the Nigerian society still depends on oral tradition. She said writers have been incorporating it into their works since the time of Amos Tutuola. The subject, the award winning writer added, is not new and that the panel would concern itself with the influence of folklore in contemporary literature.

Adimora-Ezeigbo further noted that novelist and academic, Isidore Okphewo, wrote an interesting article on folklore in which he highlighted five typologies. She, however, mentioned only four. The tradition preserved category consists of writers like poet and dramatist, J.P. Clark and Ugandan, Taban Lo Liyong, who don't do much experimentation with folklore but only present such in English.

Section of the audience: Akinosho (right), with Opakunle;
behind them Uche Nwosu

The tradition observed typology includes writers like the late Fagunwa and Tutuola while Nobel Laureate, Wole Soyinka is an example of a writer in the tradition refined category. Writers in the tradition revised class include those with some Marxist orientations like Ghanaian, Ayi Kwei Armah and Femi Osofisan.

Under Western influence

In his opening statement, Sanusi, who later discussed ‘Praying Mantis' noted the Chinese invasion of Africa and the danger this holds for the continent where people rely heavily on folklores. The vice chair, ANA Lagos, also emphasised the importance of speaking in the mother tongue.

Tolar's view wasn't different from Sanusi's. "The entire African space is under the jackboot of Western influence," he said. "The question of regenerating and rebuilding Africa means you must have a role for the young. This is where folklores come into play because they provide Literature with an opportunity to attract young people and make them feel part of that phenomenon," he added.

Section of audience

The ANA Lagos chair also noted that apart from established writers, young authors rarely use folklore while the received religions have also impacted negatively on its use. Tolar said that though many people are now writing, they do not have enough African background to effectively employ folklores. He said making such young writers aware of folklores will not only advance Nigerian literature but that "the process of rebuilding Africa socially and politically will be deepened."

Ewenla on his part held that the ability of a society to tell and archive a story for future generations to access is an indication of that society's mind. "The underdeveloped mind is the most terrible one. Are we teaching stories that can stand the test of time?" And though he supports using folklores in stories, Ewenla stressed that it must reflect current realities. "The mind that is going to write must decide based on its own reality."

Moderator, Prof Ezeigbo

Modern but ancient

Sanusi described ‘Praying Mantis' as "one crazy book that keeps going back and forth". He noted that Brink, a professor of English at Cape Town University, uses folklores well in telling Cupido Cockroach's story in the three parts of the novel. He also likened the novel to Chinua Achebe's ‘Things Fall Apart'.

Weighing in, Adimora-Ezeigbo noted that Brink reflects the 17th and 18th century's oral traditions of South Africa's Hottentots in the three parts of ‘Praying Mantis'. She added that what Brink seems to be saying is that Africans can be modern citizens but must never forget their roots.

Duiker, Tolar noted in his review of ‘The Hidden Star' successfully marries Christianity with tradition in the work. He said the author successfully employs folklore in telling the story of the child protagonist, a Christian who understands animals and who gets involved in a battle of good against evil to liberate her people. Tolar concluded that what Duiker has done is to show that the future belongs to the young.

Daggar Tolar

Ewenla, who played a role in Osofisan's ‘The Adventures of a Sugarcane Man', began with the multiplicity of narrators and narratives in the play. He said the playwright highlights the point that people play different roles in Africa and uses the stories to reinforce this. Osofisan's use of the story of Ologbo Ijakadi to resolve Ireke's dilemma in the play, Ewenla further noted, is an adept use of folklore. He added that the playwright also used Tiger's predicament to highlight the effect of greed and gullibility.

Ewenla said Ologbo Ijakadi's and Ifepinya's just desserts in the play confirms Osofisan's belief in the ancestor's assertion that no sinner will go unpunished. The beauty of the play for the actor, however, is that its many morals are applicable in modern society. Beyond vilifying covetousness and condemning greed, Ewenla said the ability of the play to build suspense on two levels brings back the childish excitement one has when listening to a story from one's grandmother and she decides to postpone completing it to the next day. "The ability of a society to tell a story and tell it well is an indication of the mind of that society," he said.

Lookman Sanusi

Discussing ‘Allah Is Not Obliged' which highlights the evil of child soldiering, Adimora-Ezeigbo noted it drips with folklores in the tones, cadence of speech and Black magic used in battles.

Integration is key

During the interaction, a commentator made a case for integration. He noted that the West had to integrate its culture with Christianity and that Nigerian writers should find ways of integrating our original culture with the modern.

Ropo Ewenla

Reacting to CORA general secretary, Toyin Akinosho's question of where Brink and Korouma belong to in her earlier typologies, Adimora-Ezeigbo said the duo belong to the tradition revised and tradition refined categories. She reiterated her position that Brink believes that there is nothing wrong with African tradition and that he is similar to Nadine Gordimer and JM Coetzee.

Sports journalist, Yomi Opakunle, charged writers to examine Nigerian folklores and highlight both the entertainment and educational values.

Earlier in the day, entertainer Jojo Body Beats, Duro Ikujenyo and others had engaged the children who turned up for the kiddies segment. ‘Kill Me the More', a performance condemning the NGA Bill by artist, Jelili Atiku, was another highlight of the last day of the festival. Many of the children left their seats to watch what the bound performance artist was up to.

Cast of 'The Killing Swamp' on set. The play continues this Sunday at teh Terra Kulture, Tiamiyu savage Street, VI, Lagos

The 12th LABAF eventually ended with the staging of Onukaba Adinoyi-Ojo's ‘The Killing Swamps' by Wole Oguntokun's Renegade Theatre at Terra Kulture, Victoria Island, Lagos.

SCENES FROM THE FESTIVAL