Long before the advent of cinema in African societies, there thrived a rich heritage of folklore, native storytelling, cultural performances, theatrical plays, traditional pantomime, and dramatic role play among the different communities that inhabit the continent.
African culture remains a potpourri of colours, sounds, handclaps, songs, dances, and masquerades that inform as much as they entertain.
The stage for these variegated forms of human expression could be anything from village squares and night markets to community playgrounds and private backyards, especially under the full moon.
But Dr Ola Ifatimehin, a performing arts teacher and theatre director in Nigeria, senses a stagnancy in this sphere that he finds worrying, if not alarming.
"Ultimately, theatre is a product of society, and every society gets the kind of theatre it deserves," he tells TRT Afrika.
Arguably, aside from music and dance shows, drama as a performing art within the Nigerian social sphere has largely been patronised in educational institutions and public cultural bureaus. Independent professional theatre houses are booming only in a few major cities like Abuja, Port Harcourt, and Lagos, the country's bounteous cultural epicentre.
"Theatre enjoys patronage in arts faculties within Nigerian universities because of student communities. Parents attend shows to see what their wards are doing, and this adds to the cycle of subsistence," explains Dr Ifatimehin, a former Head of Department of Theatre and Performing Arts at Bayero University Kano in Nigeria.
Kindling interest in drama among a young generation of Nigerians is a daunting task. Even cinema, which one would expect to be a more popular medium compared to theatre, is struggling to maintain its audience among an entire generation of smartphone-addicted youth.
Drama as a performing art now hardly features in talent shows, auditions and other creative spaces beyond literature and hardcore theatre.
The Arojah example
When performing arts teachers like Dr Ifatimehin decry the bare existence of professional theatre houses in Nigeria, they point to the low patronage of stage productions, scarcity of artistes trained in the nuances of theatre, and the lack of published playwrights.
Amid the gloom, Arojah Royal Theatre is a private outfit in Nigeria that has come to embody a commitment to artistic excellence, cultural preservation, and community engagement. This theatre produces theatrical works that work to promote African arts and culture.
"Arojah operates in Abuja, and we focus on growing and sustaining the theatre culture in Nigeria, especially in the capital city and its environs," says the founder of Arojah Royal Theatre, Om’Oba Jerry Adesewo.
But it might come as a shock that Arojah does not have a theatre house of its own. The seasoned cultural administrator who also serves as a producer and artistic director of the theatre confirms that their concept is keying into the shared economy of the modern startup business ecosystem.
According to Adesewo, Arojah takes art performances to wherever they are suited, hence the absence of the need to have theatre houses in different cities or locations. The outfit charters spaces for their performances, and they have had "over 50 productions within the last 15 years".
Adesewo tells TRT Afrika that today, "Arojah boasts of accomplishing positive influence on both the arts and the Nigerian community. Some of our acclaimed productions include plays such as Dance of Death, Dance on his Grave, The Killing Swamp, What the Hunter Saw, and Waiting for Her."
Theatre for development
It is counter-intuitive that Africans have relegated their theatre tradition to the background despite this being a credible agent of social and behavioural-change communication. When used consistently, theatre has the functionality to enlighten, to entertain, and to educate.
"Focused use of theatre has the power to impact a large aspect of our socio-economic and political development because theatre communicates complex issues in an easily accessible manner," says Dr Ifatimehin.
Adesewo couldn't agree more about the power of theatre to enrich and transform at the same time.
"In the realm of African arts, Arojah Royal Theatre has, through its art performances, workshops and collaborations, contributed to the reimagining and reshaping of African narratives. It has challenged stereotypes and showcased the diversity and intricacy of Nigerian and African identities," he says.
Referring to the use of theatre in community or national development, Dr Ifatimehin says one way of doing this is by creating plays around themes, and making these accessible to the public.
"In community theatre, we visit communities to develop plays around their socio-economic and existential realities. We develop messages that appeal to behavioural change. That way, you make people shift from certain attitudes into new behaviour. Theatre has power," he explains.
If Arojah Royal Theatre is to be treated as the benchmark for "social theatre enterprise", theatre can transcend artistic endeavours to actively contribute to society in diverse and meaningful ways. "Theatre initiatives could play a pivotal role in community engagement and fostering positive change," says Dr Ifatimehin.
Need to sustain
Theatre serves as a vital platform for artistes to showcase their talents, share their perspectives, and connect with audiences at both local and global levels. While nurturing talent, theatre contributes to the development of a vibrant artistic ecosystem that fosters growth, skill enhancement, and cross-cultural dialogue.
Although Nigerian stage drama draws inspiration from traditional folklore, the creation of original content that resonates with contemporary audiences is pivotal. Thus, striking the right balance between tradition and innovation is instrumental in sustaining the art form.
Adesewo emphasises on factors such as increased funding, which currently comes mostly from foreign-funded cultural institutions like the Goethe-Institut, French Cultural Centre, British Council, and Korean Cultural Centre.
Dr Ifatimehin sees the future of theatre in Nigeria as dynamic, albeit with a caveat. "Theatre as well as the act of visiting a theatre are both cultures. These need to be promoted, curated, and sustained consciously for them to thrive."
