DSpace Angular :: Browsing by Author "Michael Olanrewaju Agboola"

Browsing by Author "Michael Olanrewaju Agboola"

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A Dramatist’s Search for a Sane Society: A Study of Ayò Akinwálé’s This King Must Die
(Cognizance Journal, Zain Publications, Stockholm, Sweden., 2025-03) Michael Olanrewaju Agboola
The condemnable excesses of the political class in Africa, particularly Nigeria, have attracted the response of many creative artists, particularly playwrights. As the search for solution continues, Ayo Akinwale provides an interesting dramaturgical perspective that worths interrogating. Consequently, this paper examines Akinwale’s This King Must Die (2001) as a play that seeks to heal Nigerian society of its seeming insanity. With the employment of the Marxist materialist theory, the study discovered that Akinwakle adopts a clinical approach of diagnosis and prescription which reveals that the Nigerian political class is full of impunity of unimaginable magnitude, such as violence and bloodletting, bestiality, and fraud. Akinwale’s use of mythical and histro-political materials to present Nigeria’s movement in transition in the play also pictures the nation’s problem vividly. The paly however presents hope of restoration, though the ancestors are tired of excesses of the political elite. Notwithstanding, in line with the Marxist materialist theory, Akinwale insists that since the nation’s problems are the products of their actions and inactions, the solutions must emanate from a collective action of its people, and ironically, the political class would still be a part of the participants. The paper, therefore, concludes that though the society still need the political class, it has to purge itself of inordinate ambition, greed, and sense of impunity, and align itself with the wishes of the masses so it could justify the mandate given by the people.
Africa’s Nascent Democracy and Wole Soyinka’s Cautionary Engagement in King Baabu.
(College of Humanities, Gregory University, Uturu, Abia State, Nigeria., 2025-04) Michael Olanrewaju Agboola
The third wave of democratisation that swept across Sub-Sahara Africa from the beginning of 1990 led to the enthronement of democratic government in many African countries. The enthusiasm derived from this had led African leading heads of states to declare, in 1998, that a political “renaissance” had started in the continent. It is now 27 years since that declaration was made and democracy is still “active” in Africa. Notwithstanding, this paper argued that Africa’s democracy is still nascent and susceptible to avoidable reversal. Consequently, the paper considered African nascent democracy and Wole Soyinka’s cautionary engagement in King Baabu. With the use of qualitative and textual analysis methodologies, and postcolonial theory as framework, the paper discovered that drama has always beamed its searchlight on the activities of the political class, hence Soyinka’s comical satire, King Baabu. The play reveals reprehensible activities of King Baabu that are antithetical to democracy. They include aversion to competitive election, intolerance of opposition, authoritarianism and dictatorship, high level corruption, and disregard for the rule of law. The paper therefore holds that there are enough grounds to conclude that there still exists real and imagined threats to African democracy. It is therefore recommended that every citizen should be vigilant and avoid voting into power the likes of king Baabu. Drama should be unrelenting in its critique of the activities of the political class with a view to preserving democracy in Africa.
An Analysis of Gender and Political Participation issues in Salami-Agunloye’s More than Dancing
(Department of Visual and Performing Arts, Faculty of Arts, University of Maiduguri, 2019-01) Michael Olanrewaju Agboola
This study examines the issue of gender and political participation in Nigerian drama, using Irene Salami-Agunloye's More than Dancing as a paradigm. The content analysis methodology is adopted to examine the subject of this play. This is used in addition to reference to published books, journal articles, unpublished theses, internet materials and other media sources. the study discovers that the festering issue of patriarchy, though a global phenomenon, is more profound in African politics, Nigeria inclusive. Also, Nigerian dramatists since the nation's independence often cast Nigerian women in various relegated forms of identity until recently when women dramatists themselves have started to launder their own image through their cultural productions. It has equally been observed that the signifying agency of African women in terms of political acumen, intelligence and productivity is just as strong as that of their male counterparts. It has, therefore, been concluded that, though the political space stifles women in terms of participation. but it is possible to reverse such trend, as emblematic of the denouement of the play which turns out to favour greater involvement of women in politics and exertion of the agency of women. However, attainment of this will require aggressive advocacy.
Attitudinal reorientation towards production design and construction
(Society of Nigeria Theatre Artists (SONTA), 2017) Michael Olanrewaju Agboola
The normal goal of any theatrical production should be to entertain, educate and inform. However, some of these goals may be defeated due to poor technical input, particularly in the area of scene design and construction. This paper, therefore, addresses this technical failure, with the intention of suggesting the right attitude to technical conception for production. The descriptive and diagrammatic methodologies are employed to illustrate our proposition. The paper, however, makes references to books, published articles, unpublished theses, and materials from the internet to further strengthen our argument. Also, the theory of due diligence which demands that every step in a given process be followed if the end result will be successful was utilised. We have discovered that while the lapse may be due to a factor like laziness by some artistic directors, there are some others like complacency and lack of expertise. The paper, therefore, proposes an approach, which comprises defining the stage, setting the scene and preparing all necessary working drawings and models to scale. It concludes that given a good accompaniment by other elements of the theatre, this will ensure a reliable approach to performance culture and a robust theatre practice.
Counter-narrative communication versus dominant hegemonies: An analysis of the Niger Delta problem in a Nigerian play.
(Department of Mass Communication, Delta State University, Abraka, Nigeria., 2017-04) Michael Olanrewaju Agboola
Since oil exploitation started in the Niger Delta area of Nigeria, soon after the discovery of the same at Oloibiri, in 1956, the area has known no peace. The violent dimension to the crisis and persistence of the same over the years is an indication of some problem with its management by the government, but, what’s the problem? This is what this paper seeks to investigate, using Tess Onwueme’s play, Then She Said It as paradigm. The paper adopts the descriptive and content analysis methods; and Miller’s theory of Justice as a framework. Our findings show that the failure of the state in the discharge of its social responsibilities to the citizens accounts largely for the spate of violence. Being the dominant hegemony, the government presents only the official narrative that stigmatises the militants and sees no justification for agitation, but Onwueme adopts a counter narrative that exposes the insincerity of the government. The paper, therefore, concludes that nothing short of a concrete demonstration of sincere political will by the government to address the Niger Delta problem will extirpate the insurgency. The paper’s relevance lies in its attempt to seek solution to national problems; and recommends the counter narrative communication to creative writers.
Cultural Nationalism and Postcolonial Imperatives in Irene Salami-Agunloye's Emotan: A Benin Heroine and Emmy Idegu's Ata Igala the Great
("St. Cyril and St. Methodious" University of Veliko, Tarnovo, Burgaria., 2021) Michael Olanrewaju Agboola
This article examines the efforts of postcolonial creative writers, particularly dramatists, who attempt to rethink the seeming erosion of African culture in the face of Western cultural expansion. The present research adopts the methods of descriptive and content analysis, as it dwells on books, journal articles, and internet materials to examine its subject. Of immediate interest are two Nigerian plays, Ata Igala the Great by Emmy Idegu and Emotan: A Benin Heroine by Irene Salami-Agunloye, which are read as paradigmatic texts for interpreting problematic postcolonial relationships. The article contributes to discussions related to colonialism and the hidden agenda of neo-colonialism, which are often interpreted in terms of Western economic interests underlying cultural expansion. The article demonstrates how African postcolonial writers have striven to reverse this trend by promoting Africa’s cultural aesthetics as they represent indigenous ways of life and their problematic interaction with Western cultural patterns. The discussed works focus on cultural canons related to African life, such as consultation with oracles, ancestor worship, and festivals; and they demonstrate the aesthetic specifics of African dance, music, songs, and their semiotic significance. The article concludes that even though the two plays “speak back” to power, their strength lies in the articulation of certain aesthetic patterns that contribute to African self-location. Thus, the plays not only attempt to assert African culture, but they also strive to rethink the meanings of Western cultural imperialism.
Dysfunctional societies and functional responses of dramatists in Henrik Ibsen, Arthur Miller, and Ahmed Yerima’s plays
(Department of Performing Arts, University of Ilorin, Nigeria., 2011) Michael Olanrewaju Agboola
This paper beams the light on three societies - Norway, America, and Nigeria - and discovers dysfunctions that needed the intervention of dramatists, to which Henrik Ibsen, Arthur Miller and Ahmed Yerima responded appropriately. Using the descriptive methodology, we discovered the Norway of Ibsen hypocritical with a lot of socio-political ambivalence, Miller's America is characterised by fantasy, shabby lies, new dreams, and exploitative capitalist ideology, while Yerima's society is bedeviled by prolonged military rule, resulting in unfair treatment in revenue sharing, agitation for resource control, high level of youth unemployment and contention over political power. The paper therefore concludes that if dysfunction must be corrected a rounded critical approach to societal malaise must be of great essence to dramatists.
Expounding the Frontiers of the Nigerian National Question: The Example of Ahmed Yerima
(College of Humanities, Gregory University, Uturu, Abia State, Nigeria., 2025-04) Michael Olanrewaju Agboola
Abstract The Nigeria national question has generated recurrent national conflicts since her independence in 1960, and has not abated. The agitations in different regions of the country, particularly in the south-east and south-south bear testimony to this. Consequently, this study examines this perennial problem from the lens of Nigerian dramatists, as exemplified by Ahmed Yerima’s play, Hard Ground. The study interrogated the play from the conceptual framework of the character of the state as espoused by scholars such as Naim (1977), Oyovbaire (1985); and others. The study discovered that Yerima has taken a bold step to dramatise the problem of violent agitation for resource control and self-determination. It also discovered that the management of the relationship between the state and the sub-nationalities by the state and its leading personnel is mostly responsible for the tension and conflicts that often arise. Yerima, though condemns the bloodletting occasioned by the expression of discontentment, there is uneven handling in the treatment of the problem as only the agitation is roundly condemned by the playwright, leaving out the state, considered the harbinger of the problem as a result of its coercion, oppression, and neglect of peculiar needs of the sub-nationalities. The study concludes that as long as the state maintains a coercive posture, the problem will linger. It, therefore, recommends that the state and its leading personnel pay more attention to the complaints of the sub-nationalities. An even handling of socio-political conflict in the dramaturgy of Nigerian playwrights will further help the situation.
Film festival and archival efficiency as reservoir of epistemy for national development
(Faculty of Arts, University of Calabar, Calabar, Nigeria, 2019) Michael Olanrewaju Agboola
It is generally believed that the cinematic tradition had started in Africa as far back as the 19th century, not long after its evolution in Europe and was exhibited within the cities by the imperial forces that colonised the continent. Granted that majority of the films at this time were produced by the Europeans and reflected foreign cultures, except a few with local content, though negatively, most of the time. It is noteworthy that the postcolonial period of Africa produced its own films, telling its own stories. It is lamentable, however, that many of the early but vital films, particularly celluloid, produced by Africans may have been lost. Reasons for this may not be unconnected to poor archival practices by most African nations and lack of synergy between film producers and the archives, a situation that has caused a lot of historical gaps in the documentation of African film industries and African socio-cultural practice. This has also impacted negatively on episteme and by extension pedagogy, both of which are crucial to the development of African cities and nations. In light of this, this paper theorises the relationship between film industries and archival practice and submits that a sustained film festival culture will go a long way in bridging this gap and help provide a myriad of information - sociopolitical economic and technological - that can be channeled towards a meaningful development of African city, especially when stakeholders in film festivals work hand in glove with the archives.
Garrison Democracy in Nigeria's Political Experimentation and the future of its democracy: Irene Salami Agunloye’s Sweet Revenge as a Paradigm
(Department of Theatre and Film Studies, River Satte University, Portharcout, River State, Nigeria., 2024-12) Michael Olanrewaju Agboola
This paper examined Garrison Democracy in Nigeria's political experimentation and the future of its democracy, using Irene Salami-Agunloye's Sweet Revenge as a Paradigm. With the use of descriptive methodology and the realist theory of conflict as framework, the study found that Nigeria's democratic practice in this fourth republic is, among others, characterized by abuse of power exercised by the governments and its political office holders. This includes brutality, use of excessive force and sometimes killing of innocent citizens who agitate for the enforcement of their rights. It is also discovered that this development could discourage the citizens from active political participation as they may not see any discernible difference between the practices of the past military governments, which they rejected and the democratic politics which they agitated for. This kind of democracy still has the imprint of the military and is, therefore, seen as garrison democracy. The study concludes that this type of democracy poses a serious threat to the development of Nigeria's democracy as violence and force are inconsistent with democratic principles. For this reason, the study recommended that the political elite should eschew garrison democracy and more dramatic creativities that lampoon and castigate sordid acts in political practice are needed now, more than ever before. Nigerian dramatists are, therefore, encouraged to publish more works that strive to correct political excesses.
Intercultural Mediation and Sundry Obstacles in African Theatre: Sunnie Ododo's Hard Choice as a Paradigm
("St. Cyril and St. Methodius" University of Veliko, Tarnovo, Burgaria, 2023) Michael Olanrewaju Agboola
This paper contributes to the debate on the significant roles that intercultural mediation can play in mitigating the incessant conflicts often ignited by cultural differences. From the perspective of theatrical narratives, the present article examines the problematic aspects of intercultural mediation in African theatre, using Sunnie Ododo’s Hard Choice as a paradigm. The paper adopts descriptive and content analysis methodologies to analyse a selection of published books, journal articles, and internet materials. This critical endeavour aims to prove that while intercultural conflicts occur in many regions of the world, they are particularly intensive in countries that have experienced colonial subjugation. Several factors have been found to account for conflicts in multicultural societies, particularly in Africa. These include the inability to manage cultural differences, undercover activities of individuals and groups, particularly the political elite, to satisfy selfish interests, and the egocentric inclination of some cultures to attempt to subsume others. The article concludes that although African theatre has achieved great success in the advancement of diverse ethnic cultures, not much has been done in the area of intercultural mediation and the peaceful negotiation of cultural conflicts. It is suggested that African playwrights need to do more by creating works that advocate peaceful cohabitation of cultures, emphasize circumspection of African leaders in handling sensitive socio-political and cultural issues, and stress the need for selfless national and regional leaders.
Interrogating the Nigerian National Question in Selected Plays of Femi Osofisan
(Department of Theatre and Film Studies, River State University, Port Harcourt, Nigeria, 2024-10) Michael Olanrewaju Agboola
The Nigerian national question has been a perennial problem, excruciating and turbulent, often disrupting the peace of the nation and sometimes resulting in anarchy, arson, sabotage and retardation for the nation. This phenomenon is problematized by this paper and examined in selected plays of Femi Osofisan, particularly Another Raft and Once Upon Four Robers. The study used the Marxist theory by Karl Marx as a framework to interrogate the plays and found that the Nigerian national question manifests both in inter-group and inter-class forms. The subjects of conflicts are discovered to revolve around key factors, such as ethnic distrust, which is an inter-group phenomenon, intolerable poverty level, and hunger, occasioned by the twin scourge of uneven distribution of national wealth, and humongous acts of corruption, both of which precipitate class conflicts, thus throwing up class struggle. The study, therefore, concludes that if the trend continues unabated, it will be difficult, if not impossible, for peace and meaningful development to be achieved. It is, therefore, our suggestion that the state, exemplified by the political elite, requires urgent self-examination and self-adjustment that result in self-sacrifice, justice, fairness, transparency in the handling of state affairs, accountability, and concern for the well-being of the masses, to move the nation forward, ensure peaceful co-existence and earn the trust of all citizens, including the sub-nationals.
Multifaceted Cultural Amplitude of Yorùbá Films: A Case Study of Aníkúlápó (2022), By Kúnlé Afoláyan
(Department of Theatre and Film Studies, University of Port Harcourt, Choba, Rivers State, 2024-06) Michael Olanrewaju Agboola
This paper considers the capacity of indigenous films, this time Yorùbá Films, to exude cultural significance that popularises the centrality of the Nigerian tribe, not only within the West African sub-region, but globally. Many Yorùbá films that date back to the Aye series of Hubert Ogunde days, the Ajani Ogun of Ade Afolayan, Ti Oluwa ni Ile of Tunde Kilani, Agogo Ewo, and Saworo Ide of Kunle Afolayan, and many others are cultural hits. Therefore, this paper problematizes indigenous films' relevance in amplifying the cultural aesthetics of the tribes. With the analysis of Kunle Afolayan’s Aníkúlápó (2022) and functionalism as a theoretical framework, the study discovered that films produced in traditional languages can spread the aesthetics of indigenous culture, attract the patronage of other cultures, with its multifaceted socio-economic appurtenances. In particular, Aníkúlápó exudes rich aesthetics peculiar to the Yorùbá Culture, such as the transcendental exposition of the Ifa Oracle, with its rich poetry and pedagogical artistry, the beautifully woven Aso Oke (handwoven traditional clothes), the assorted and delicately designed pottery that also exemplifies occupational engagement of a people, and many others. Of greater significance is the medium of film which is potent enough as a means of communication to disseminate and spread cultures far and near. Consequently, the paper concludes, that the power of indigenous language films to advance culture due to their fluidity and visual potency is huge and should be continually explored, more so that it possesses the propensity to preserve indigenous languages.
Neo-colonialism as bane of development of the post-colonial state in Tunde Kelani’s Saworoide
(University of Yaounde1, Cameroon, 2019-12) Michael Olanrewaju Agboola
Researchers, over time, have advanced reasons such as frequent change of government by violence, ethnic rivalry and leadership failure for the problem of underdevelopment in post-colonial Africa. It is, however, the argument of this paper that beyond these there are exogenous factors manifesting in the form of neo-colonialism which are responsible for this seemingly intractable problem. To track this problem, the paper examines the conjuncture of neo-colonialism and underdevelopment in Nigerian film using Tunde Kelani’s Saworoide as a paradigm, and employs descriptive and content analysis methodologies. References are made to published books, articles, unpublished theses, conference papers, and relevant internet materials; and Dependency Theory is employed as theoretical framework. Our findings reveal that the activities of the multinational companies which engage in the business of logging constitute a serious clog in the wheel of community development in Saworoide, as they break the laws of the land with impunity, inflict pain, job loss and death on the populace. They engage in graft and collude with the political elite to deprive the state of much-needed fund for development through severe capital flight. It is, therefore, our conclusion that a neo-colonial relationship is asymmetrical and unhealthy for the development of the post-colonial state and, therefore should be redefined to ensure it is based on a reciprocal humane premise. Besides, African filmmakers should avoid flippant and unhealthy themes, and engage in those that promote justice, democratic ideals and overall egalitarian society.
Playwriting: Purpose, Context and Mechanism
(Centre for Black and African Arts and Civilisation (CBAAC), Lagos, Nigeria., 2012) Michael Olanrewaju Agboola
This chapter, through a descriptive methodology, looks at the mechanism, context, and purpose of playwriting. The ingredients that make a good play are carefully considered. The playwright has been noted to be a "craftsman" who "builds" a play, writing it down in dialogue form. he is known to work within the context of time and space, using available materials in his society for his "craftwork". It has been discovered that writing a good play requires the touch of a playwright with exceptional qualities who must be intelligent, creative, visionary, imaginable, knowledgeable, observant, and foresighted. It is our view that conflict, which throws up crisis and suspense are critical catalysts of a good play. Crisis in tragedy and comedy are not likely to be of the same magnitude. And where they are, they are not resolved in the same way and are not always of the same consequence. The most popular plays, we observe, are those that appeal to the nuances of change. Therefore, it is our conclusion that practising and aspiring playwrights must tread this pattern for the attainment of a better society.
Religious Dislocation, Socio-economic Dysfunction and the Politics of Terrorism in Ahmed Yerima's Heart of Stone
(2020-03) Michael Olanrewaju Agboola
This study takes a critical look at Nigeria’s religious pedagogy, as dispensed by her numerous “custodians of religious episteme” vis-a-vis the socio-economic dysfunction that is the Achilles heel of the nation, and the influence of this dual phenomena on the exponential rendering of terrorism in the nation in recent time, as emblematised by Ahmed Yerima’s Heart of Stone. The study adopts the descriptive and contents analysis methodologies, with additional references to published books, journal articles, media resources, such as newspapers, magazines and internet materials. We have discovered that terrorism is employed by its culprits as a political instrument, among others, to “force” the attention of a negligent political elite to the precarious situation of the less privileged in the society, albeit in a most horrific and condemnable way. Equally, the study finds that the impartation of distorted religious episteme, which tends to “zombify” the youth makes them easily amenable to radicalisation, thus exposing them as ready recruits into terrorism, with its consequential hardness of heart. It is, therefore, our conclusion that terrorism seems to be on the increase due to religious indoctrination and perceived imbalances in the nation’s socio-economic systems. Consequently, the paper suggests that a more realistic counter terrorism strategy will be a multilayer approach of “carrot and stick” – military counterattack, sensitivity of the political elite to socio-economic plight of the masses, pressure on religious scholars to model their pedagogy along the truth and national interest and necessary dialogue with aggrieved personages and groups.

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