“The Problem With Nigerian Theatre”

Professor Ifeanyi Chris Nwamuo

– Professor Ifeanyi Chris Nwamuo, in an interview with a select group of journalists shortly before he delivered an inaugural lecture at the University of Calabar, Cross River State
By Alex Ameh
You belong to the special class of literary men and women produced by the University of Nigeria, Nsukka. What do you think is the real significance of University of Nigeria, Nsukka to the growth and development of Nigeria Literature?
When the University of Nigeria was established in 1960, it was the first autonomous, indigenous university in Nigeria, modelled after the Landgrant Universities in the United States. It had charter to award degrees in all aspects of knowledge in science, in the arts and other fields of human endeavours. This encouraged people with varying talents and ideas to come to this nouvelle institution to acquire higher education and contribute to human excellence and national development. It was the pride of the Nigerian nation. The Civil Service Examinations conducted for graduates of Nigerian Universities showed that graduates of the new university performed excellently due to the broad-based nature of the curriculum.
The Faculty of Arts headed by distinguished American scholars nurtured the first crop of budding writers who later watered the seeds of literary growth and development in Nigeria. In the Department of English, Peter Thomas was doing for Nsukka what Ulli Beir was doing at Ibadan. He organised workshops on creative writing and organised poetry reading sessions. The hills and valleys of Nsukka provided a new groove of learning and the Nsukka creative spirit nurtured in these hills took its origin in time and place in 1963 with the first edition of the literary journal, The Muse. From the Paul Robeson School of Drama, the Bode Sowande School of Music and the Ben Enweonwu College of Fine Arts, students flocked the groove to be groomed and anointed as the new masquerade spirits of a new generation of writers.
So, the spirit of the new, the nouvelle, the unique and the fresh on the Nigerian sky, spurred the young writers on, to document their ideas and vision for future generations. Within 10 years of the Unviersity’s existence, Michael Echerou, Romanus Egudu, Donatus Nwoga, Emmanuel Obiechina and Kalu Uka were discussing and promoting the Nsukka brand of African Literature in major American cities. Their message caught the world instantly. The Okike: Journal of Creativitv edited bv Achebe was born. Nsukk ascope edited by Achebe was established. Odunke and Nsukka harvest also came into being and helped to encourage creativity. Today, from Delta to Anambra, Bayelsa to Rivers, Cross River to Abia, Ebonyi to Imo and Enugu, the major names in Nigerian Literature are names of men and women who drank from the springs of the Nsukka creative hills. Today, when we talk of Chinua Achebe, Christopher Okigbo,Pol Ndu, Romanus Egudu, or Chimamanda Adiche, the new generation writing star, we are talking of world-class writers from Nsukka who have kept African Literature alive. It is significant that the first truly Nigerian University has produced men and women who have made significant contribution to the development of Nigerian literature. We are proud of the University of Nigeria’s contribution to Nigerian Literature.
Apart from the big names you just mentioned are there any other writers of note from the Nsukka School?
The Nsukka creative school nurtured other writers such as Ossie Enekwe, Chukwuma Azuroye, Obiora Udechukwu, Uche Okeke, Jaz Amankulor, Dubem Okafor, Chinyere Okafor, Charles Ezeonwu, Bons . Nwabiani, Ikechukwu Azuonye, Sam Ukala, Chimalum Nwankwo, Emeka Nwabueze, Ogonna Agu, Sonny Akpan, Greg Akpagu, Dukun Ani, Kalu Okpi, Emeka Ijioma, Prisca Echenim, Maureen Erokwu and my humble self. These have equally contributed their quota to the development and sustenance of Nigeria literature.
It is the opinion of many people that Nigerian literary creativity is presently on an impressive rise. Do you think that our contemporary writers have done enough to deserve commendation?
Oh yes. I sincerely believe so. All you need do, is to attend any of ANA or SONTA conventions to behold the quantum of literary output from Nigerian writers. It is indeed impressive. Soyinka is still writing and so is Achebe. Iyorwuese Hagher, Elechi Amadi, Tess Onwueme, Zainab Alkali, Akachi Ezeigbo, Irene Salami, Emeka Nwabueze, Sam Ukala, Ayo Akinwale, Saint Gbilekaa are churning out tons of literature for the Nigerian public. Chimamanda is stunning the world with her numerous awards in creative writing. Tess Onwueme is touring ‘the world with her productions and lectures on cultural diversity. Femi Osofisan has become Nigeria’s cultural ambassador with his numerous plays. Tanure Ojaide is making waves with his Delta poetry, while Hagher, even as an Ambassador is busy promoting Kwahir theatre allover the world with every ounce of energy in him. So our writers are quite alert and obviously deserve commendation. .
A lot has been said concerning the seeming inability of critics and scholars to cope with the prolificity of our literary creators. What is your own view of the situation?
The preoccupation of the critic is to communicate the method employed by a particular artist in his creative endeavour, to the consumers of art, so they can appreciate the technique, quality and relevance of that particular art, to contemporary times. This naturally arouses encouragement or discontent from art consumers, which really does not matter. The major purpose of criticism is to enable the artist - writer or performer to do better. Without criticism, literature will not grow in quality. It is in highlighting the strengths and weaknesses of works of literature that generates better literature. What I think is happening now is that due to lack of qualified and experienced critics, there is little criticism of our literary and dramatic output.
The result is that standards are ignored and writers have a field day. They just write as the spirit directs them without recourse to principles and known standards. The theories and principles of criticism should be used to preview, review and assess the quality of the literary output effusing from Nigeria. The given circumstances of the book, the content, the religious practices at the time of its writing, the politics, the history and in fact the entire sociology surrounding the author ought to be used in analysing the content, language, plot, characteristics, theme and relevance of the work. By doing this, writers will be focused on writing about contemporary issues of the day knowing that critics will be bold enough to use the known parameters to judge their works. We know however, that with desk-top publishing and roadside printers, young writers and authors now release any type of work to the gullible public and unqualified and inexperienced critics, reviewers arid friends lavish praises on such works without proper criticism. This gives rise to the prolificity of literary output which you are talking about. So while we praise the creative effort of our writers, we should encourage our critics to do their work of maintaining standards in the criticism of literary works without fear or favour. We should also encourage the young ones interested in the study of literary theory and criticism to actually show interest in this aspect of literary scholarship by bending down to learn the trade. The growth and development of Nigerian literature, depends on them and their art.
You are in Theatre Arts and have established yourself in that discipline, what do you think is the relationship between the practice of theatre in Nigeria and the emerging Nigerian home-videos?
We live in a post-modern world where the cinema, the television and the home-video are controlling our lives, lifestyles and attitudes. The home video is part of the modern theatre which represents the visual culture of our time. It incorporates some of the features of the motion picture which the stage cannot capture. While the stage deals more with obligatory scenes that must convince, the home video is able to capture every narrative story for the novel, including the psychological. The home video phenomenon is a development in the theatre whose time has come. It is assisting the sage to improve the art of public speaking, in setting the fashion in the society, in promoting acceptable carriage and manners and in encouraging the best in man by resolving the conflict between good and evil. In providing the opportunity and a positive way for developing creativity and originality, it promotes personal and individual development.
However, the relationship between this new theatre and its parent, the live theatre, has not been very cordial in the sense that it has turned away audiences from the theatre. People now prefer to watch the new theatre in the comfort of their homes or in designated viewing centres where security is guaranteed. And we all know that without audiences there is little or no theatre. So, theatre practice from play selection, through rehearsals and production, is wasted effort without the audience to be educated, animated and entertained. The home video is therefore a big threat to the practice of theatre in Nigeria today. I only hope that arts administrators will work hard to woo people back to the theatre using some form of aggressive publicity including the seismic theory of publicity to do so. But really the live-theatre is in bad shape now.
Can you assess the practice and scholarship of theatre in contemporary Nigeria? What are the challenges and the prospects?
The practice of theatre in Nigeria is heading for the rocks and needs to be rescued urgently. While theatre academics are researching, teaching and publishing according to world class standards, little or no new theatres and studios are being built for them to practice in and to train student apprentices. Most of the theatre facilities and equipment are dilapidated and obsolete. Authorities prefer to spend money on chemicals and test-tubes for the science laboratories than equip theatres, recording and rehearsal studios or even costume and technical equipment. It is a sad situation which will kill the theatre and the creative spirit and discourage young men pursuing careers in the performing arts and in creative teaching. It is sad to know that we are hailed as being wise in everything except in how to use our wisdom. We are gradually getting dehumanized as we hotly pursue scientific and materialistic education without a great concern for the arts. In Nigeria’s quest for the rule of law, to fight corruption, guarantee security of lives and property, theatre is still very relevant in teaching humanistic education, in producing creative and self-reliant individuals who will rather handle the pen than the gun and who have acquired skills in group work and social mobilization for positive change. Nigeria’s drive towards tourism, improvement of the hospitality industry and the copyright provisions are aspects of the economy which centre around the theatre arts personnel. These are some of the real challenges and prospects for the theatre practitioners in Nigeria apart from the traditional responsibility of preserving and promoting Nigeria’s cultural heritage and invigorating the communications industry.
As a Nigerian literary/dramatic scholar living in Nigeria at this point of its history, what responsibility do you think you have?
I have a responsibility to nurture young and up-coming artistes to maturity and to contribute to human resources development in the area of theatre, culture and the performative arts. I will continue the work of academic mentorship which is not so popular among young academics who enjoy the in-breeding syndrome of getting all their degrees from one university, and are anxious to become legends overnight. I have a responsibility to generate and disseminate knowledge in the theatre discipline and profession and to conduct of research into theatre practice, theatre and arts administration. Without effective administration the theatre practitioner is like the pastor without a bible. There is also the need to encourage collaborative research and staff exchange programmes between and among theatre and cultural studies institutions. This, I think will help younger .Departments of Theatre, Media and Communication Studies which do not have the core staff needed to administer their programme of studies. Of course you know that the issue of collaboration has become a focal point in Development co-operation and international education agenda. I will devote my energies and experiences towards these for the benefit of the younger ones.