AHMED YERIMA’S ETHNO-DIVERGENT APPROACH AND THE

CONTEMPORARY NIGERIA THEATRE

Jacob .A. Oluwafemi

Department of Performing Arts,
Faculty of Arts,
Olabisi Onabanjo University,
Ago-Iwoye, Ogun State.
Nigeria.
femolistic2001@gmail.com
2348060202379, 2347062025578

ABSTRACT
The art of theatre is broad thereby making it interesting for different mentality of different
personalities to explore. That the theatre is alive today is simply because of the great work
that has been done by great people within the different spheres of the arts. Therefore, one
cannot discuss about the theatre in Nigeria without mentioning the pillars that are holding or
have held the theatre in one way or the other. This study unveils art as experience with its
theoretical framework of Aesthetics as propounded by John Dawey. The aesthetic theory has
been found useful in a number of disciplines of which art is among.
The Nigerian theatre over the years has reckoned with great dramatists or artist in one way or
the other such as the late Hubert Ogunde, Kola Ogunmola, Bayo Oduneye, Late Dapo
Adelugba, Wole Soyinka, Late Wale Ogunyemi among others. These theatre dons have one
way or the other made foot print for other theatre artists to follow which also is the case of
Prof Ahmed Parker Yerima.
This research is set to examine the works of Ahmed Yerima, a multi-cultural playwright and
artist and trace their relevance to the Nigerian contemporary theatre. It will have
consideration into the experience and nature of Ahmed Yerima, thus making an attempt to
shift the understandings of what is important and characteristic about the art process from its
physical manifestations in the expressive object to the process in its entirety, a process whose
fundamental element is no longer the material work of art but rather the development of an
experience. An experience is something that personally affects your life and it will serve as a
resource material for the upcoming researchers and role model for theatre artists of our
present generation.
INTRODUCTION

There is always a mission to accomplish whenever an artist is carrying out his work. The

major influence is the environment and the people around the artist being a principal factor

which the artist will use to project his message. Bakare Ojo (2004) submits that “there is

nothing like dance for dance sake just as there is no art for art sake”. Every art piece in this

case is either communicating a message or it is expressing the feeling of a particular mood.

Professor Ahmed Parker Yerima has undoubtedly established himself as one of the most

prolific Nigeria writers in the present decade. Obviously, those who are conversant with his

approach to his work will attest that he has made good and accurate usage of art and culture

around Nigeria. The salient contribution of his works to every environment or culture he had

experienced has been of immense influence on which he has become till date. In this regard,

he has ensured that the theatre stage in Nigeria never remains desolate and justifying this

Mary Ekah (2007) says that “he also promoted and sustained a lively theatre production in

the country”. However, Yerima was able to achieve some of his goals as he took upon

himself, a leader by example with the responsibilities of upholding the National Troupe of

Nigeria to continue to project the nation’s rich culture both at home and abroad. In

confirmation of this, Ahmed Yerima (2009) says “yes, it is getting back, by the grace of God

and by the grace of the people. Yesterday, the two halls were full of those who came to see

open mic and the Trials of Brother Jero”.

This activity and process of the rejuvenation of the stage led to a returning point of artists that

have one way or the other decided to seek fortunes of art elsewhere and Mary Ekah (2007)

submits that “within few months of Yerima’s operation, lots of artists were brought back to

the stage”. However despite the rampage of home videos and cinemas in the country in our

present dispensation, Ahmed Yerima was never tensed that the stage or theatre productions

will be abandoned. This could be likened to the story of theatre during the medieval period
where art was classified as immoral and production were banned but the renaissance era

witnessed the coming back of theatrical productions. Thus, one can deduce that the home

video has its own flavour and audience while that of the theatre too is unique; no wonder

Peter Brooke (1996) posits that “the theatre is a lively art that showcase the present, while the

film and the cinema is of the past event”. In supporting this, Dacosta Adeyemo (2010) says

“stage acting is always constant because it reflects the human activities of presentation”.

Undoubtedly, it can be as disturbing as some schools of thought have opined. This was

actually justified also when the researcher attended the audition of Bacchae of Euripides and

came in contact with one of the Nigeria film industry (Nollywood) top actor Late Zuby

Enebeli in the same audition. It justifies the fact that no matter the substitutes of the stage

being home videos and cinema, some people will still fill the brim of an auditorium or theatre

to watch stage performances or theatrical productions.

According to Layiwola Adeniji (2007), “you do not always have to agree with Yerima’s

world view yet his prodigious and hard work cannot be ignored”. An underlying factor is that

the stage has taken Prof. Yerima out of the country on not just one occasion but to different

countries as well as continents. He has through the National troupe of Nigeria shown the

world how beautiful is the culture of Nigeria in touring countries like Brazil, Cuba, Zambia,

Canada, Ghana, Dubai, Mexico, United States of America, and Japan among others.

Obviously, it is always said that a tree cannot make a forest and that if the wind does not

blow, the tree cannot dance. In my interview with Prof. Yerima, he acknowledged the few

persons that have helped him in reaching the height he has attained today. Among them are

his teachers, Prof. Wole Soyinka, Aig-Imoukude, Late Steve Rhodes, Bayo Oduneye, Jahman

Akinosho and a host of others. It was not surprising when I heard some other notable artists

like Prof. Femi Osofisan, Ambassador Segun Olusola, Rasheed Gbadamosi and Olu Obafemi.

He further went ahead to mention some of the people that have worked with him such as Prof
Duro Oni, Late Dacosta Adeyemo, Shuaibu Hussein the present Artistic Director of National

Theatre, Arnold Udoka who is the present Choreographer of the National Troupe as well as

many more that time will not permit me to list. In addition, it was observed that when Prof

Yerima became the Chief Executive Officer of the National Theatre, he was at the helm of

affairs thereby every other department was under his supervision and one would imagine how

the scholar combined art and culture with administration or management together that his

colleagues still have much regard for him. In explaining this, Ahmed Yerima (2010) says

“even my administrative skills that a lot of people now know were tested at the National

Theatre”. In supporting this statement, the late artistic Director of drama for National Theatre

Dacosta Adeyemo (2010) said “there was never a dull moment with Prof Yerima. He carries

all departments along and always making sure that they get the necessary conducive

environment to work”.

Thus, the National Theatre has been an embodiment of the life of Prof. Yerima and anyone

who knows him and the National Theatre will wonder what made him to leave but I believe

for greener pastures. The regime of Prof Yerima can be regarded as a pivotal era in his career

and there was confirmation to it when Ahmed Yerima (2010) says

What the National theatre did to me is that it created a number

of avenues. It inspired me to write and I met great actors and
directors. It was like a finishing school for me because I was
given privilege to practice. It is like life school.
Such a renowned scholar who is not in doubt of which of his skill serves him better today has

taken the mantle that was bestowed by the front liners of art in Nigeria and has made a

landmark in his career and can still pull the society to him if he maintains the pace.
LET US MEET PROF. AHMED PARKER YERIMA

Sometimes nature or circumstance throw things your way and you move on with it. What you

carve out of it defines your person. This has been the case of some people but what makes

the difference is that some have been able to develop this scenario and use it to their own

advantage while some others have been drowned by same scenario. He was born in Ikeja,

Lagos State Nigeria to Mr and Mrs Musa and Saidatu Yerima. The father is from Borno State

while the Mother is from Edo State. Ahmed Yerima attended St. Bendette Private School

Abeokuta in Ogun State. Baptist Academy Obanikoro, Lagos State and had his degree at the

University of Ife presently called Obafemi Awolowo University where he bagged a degree in

theatre Arts. He had is MPhil/Ph.D. which was upgraded to Ph.D. after six months of work

and assessment. Prof Yerima has been able to transplant his knowledge into the lives of many

students across universities in Nigeria such as Obafemi Awolowo University Ife, Ahmadu

Bello University Zaria and the University of Lagos where he won an icon professor and his

present domain is that of Redeemers University, Ede in Osun State.

His father, a police officer wanted a young Yerima to read law like most parent do in Africa

but one can adjure Yerima’s story and achievement to be that of destiny. Questions are

always raised when one hears his middle name “Parker”. The father who was once the

commissioner of police was honoured for a heroic deed during his service in the police force.

The inspector general of police rewarded his father for the deed that day with a parker pen

which the event coincidentally clashed with the birth of Ahmed. In celebration of this and the

belief of Africans in tying children’s name to circumstance of their birth, the father

signposted him with the land mark Ahmed Parker Yerima.

HIS PHILOSOPHY OF ART

Prof Ahmed Parker Yerima see himself as a cultural officer first and most times never

remembers who his people are and this is due to the fact that he bears in mind that he belongs

to all cultures in Nigeria. This philosophy has tremendously reflected in his works as well as

his way of life. One fundamental fact about Yerima is that his name has become synonymous

with the National Theatre. He joined the administrative division of the National Theatre in

1991 as a Deputy Artistic Director of the National Troupe of Nigeria. In the year 2000, he

was promoted to the office of a Director and in the year 2006, he was appointed as the Chief

Executive of the National Theatre.

The National Theatre is a viable government establishment in Nigeria where the art and

culture are being melted together in a whole. The promotion of Ahmed Yerima was a well-

deserved honour to a prolific director, playwright and scholar who did his best to turn around

the ugly face of the National Theatre which became a venue and platform for wedding and

social events amongst others. Although the outfit was rediscovered when it started making

money and Ahmed Yerima (2009) attest to it in his article saying “...that year alone, we were

able to make fourteen million naira (N14,000,000.00) as revenue”. Absolutely no one that is

conversant with the story of the National Theatre will doubt the words of Prof Yerima and the

outfit has thereby made tremendous development between the year 2006 and the year 2010.

The relevance of the work of Prof Yerima to Nigeria contemporary theatre cannot be

determined by how many books he has published but rather what are the influences behind

his writing and what message he is communicating. Since no writer writes out of vacuum, the

researcher embarked on an interview with Prof Yerima and also interviewed two artists that

have been regular part of his premiered productions for some years in the person of Mr
Arnold Udoka, the present Dance Director and Choreographer of the National Troupe of

Nigeria and Mr Dacosta Adeyemo, the former Artistic Director of Drama, National Theatre.

CULTURAL DIVERGENCE INFLUENCE ON HIS WORK

Prof. Ahmed Yerima, a perpetual sojourner who has made the entire country his homeland

has sojourned through many areas in Nigeria. He remains one of the ultimate all Nigerian

man in more ways than one and shows this propensity in various ways though more often in

his discharge of duties. His father’s police career made him a man at ease in many cultures.

Supporting this view, Grabiella Osamor (2008) affirms that “Ahmed Yerima can be said to be

Yoruba, you would not be far wrong but could also argue that he is so well versed in Igbo,

Benin, Niger Delta…”.

Truly in the view of the above statement, Ahmed Yerima never likes people asking him

where he comes from but if such question arises, he starts by saying “I see myself first and

foremost as a cultural officer, I use that as a guiding principle to detribalize myself” Ahmed

Yerima (2009). This identity and personality was actually conferred by situation of his father

being a police officer whose frequent posting and transfer around the country during his

service which also meant he had to move along with his family.

Prof Yerima’s heart journeys through the length and breadth of Nigeria that through his

writings, one will not be able to pinpoint Yerima to be a particular tribe and this is due to the

fact that he has written many of his play outside of his own culture. There is absolute cultural

divergence in his plays and this has been a major influence in his works. He said this in a

phone interview with the researcher.

FEMI JACOB: Sir, what actually prompted you that most of your plays are either Yoruba
Igbo, Igala Benin and you are not from there?
PROF YERIMA: Hope you are aware that I worked at the National Theatre. That place is full

of people from different ethnic groups so my relationship with them prompted me in writing

in other tribes confidently.

Obviously, the artist in him has torn every ethnic grab. He sees Nigeria as a wonder

conglomeration of tribes and confidently writes plays using different tribes in Nigeria. Some

of these plays are Yemoja (Yoruba), Idemili (Igbo), Otaelo (Igbo), Ade Ire (Yoruba)

Akuabata (Igbo), Attahiru (Hausa), Tafida (Hausa), Ameh–Oboni the Great (Middle Belt),

Trials of Oba Ovanramwen (Benin), The Sick People (Niger Delta), Mojagbe (Yoruba) and

among others.

However, many socio cultural organizations that promote Yoruba world view have no

problem with embracing Prof Yerima as one of their own and Nseogbon Okon-Ekong (2008)

views that “a man, who understands the Yoruba so well as to write a commendable thesis on

Yoruba pantheons, can’t be said to be an outsider”. Though Prof Yerima was born in Yoruba

land but despite that, he has imbibed the culture of the people so well that his understanding

of the Yoruba is borne out of a robust interaction, integration and admiration of the people

from childhood. This knowledge has been a mighty help as well as playing a major role in his

career and Gabriella Osamor (2008) describes him as “an author of books with an

incontrovertible Yoruba background”. One can imagine what his expectations might be when

he was writing this play that is not from his tribe and Ahmed Yerima (2010) says with a

surprising expression “I didn’t even know that I understand the Yoruba gods so well, until I

heard from the people who had either read the book or seen the play”. One basic truth is that

Prof Yerima in most cases does not belong to the society i.e. culture or ethnic group he his

writing for, if not, he would have been seen as a controversial playwright or dramatists.

Regarding Trials of Oba Ovonramwen, Olutoyin Bimbo Jegede (2007) commends Ahmed

Yerima saying “I celebrate his use of the local culture of the Benins as expressed in music,
sound, proverbs as well as parables”. In addition, with reference to Yemoja, Attahiru and Dry

Leaves, Toyin and Akin (2007) agrees that “his handling of oral element makes his play have

the desired culture and tradition”. Ahmed Yerima (2015) affirms also that “man is paired

with culture, for culture is the totality of his life. Politics is the art of man finding suitable

way to interrelate or coexist with other peoples and their cultures”. This further justifies the

decision of This Day Newspaper as he was used as headlines saying “I am an adopted son of

the Yoruba” Ahmed Yerima (2010). He has made a mark with this style or approach of

writing. Art being conscious of the peculiarity of each socio-cultural milieu is not far-fetched

from Prof Yerima’s plays as he presented every culture or ethnic group the way it is.

Justifying this, Ahmed Yerima (2015) submits that “this is why in contemporary society, the

art it gives birth to cannot be for art’s sake, it must speak to society while at the same time

pointing to an alternative solution to society’s problem”. That was why the Benin monarch

watched Trials of Oba Ovonramwen without much criticism.

HIS WORKS AND THE SOCIETY

I was surprised to hear that Ahmed Yerima has never won an

award several in his writing career. He has written several
plays, his work is regularly staged throughout August at the
National Theatre Lagos to flag off the recently revived drama
season.
The above comment is from Wale Okediran (2006), a medical doctor, parliamentarian,

novelist and National President, Association of Nigerian authors. Obviously one can

understand from the statement that the works of Prof Ahmed Yerima are well known to the

populace. Prof Yerima has published more than six books such as Playwright Thinking,

Culture Drama and National Ethos, Fragmented Thoughts and Specifics, among others and

twenty seven plays out of which the play Hard-Ground won him the 2006 NLNG prize for

literature. His other plays include Idemili, The Silent Gods, Kaffir’s Last Game, The Bishop

and The Soul with Thank you Lord, The Trials of Oba Ovonramwen, Attahiru, The Sick
People, Otaelo, Dry Leaves on Ukan Trees, The Sisters, Yemoja, The Lottery Ticket, The

Mirror Cracks, Ade Ire, Akuabata, Tafida , Ammen Oboni the Great, Mojagbe, Little Drops,

The Portrait, The Wives, The Twist, The Angel, Tomorrow’s Women, Dami’s Cross, Atika’s

Well and Ajagunmale and a host of others.

However, his works include contemporary issues as it concerns politics, religion, adaptation,

comedy and what one can describe as an imaginative reconstruction of history and myth.

Some are based on history, some are political and socio–political, and some are adaptation

while some others are on comedy and religion.

In addition, Yerima’s plays treat some of the issues we face in our contemporary society,

justifying this; Ahmed Yerima (2015) posits that “theatre is an arbiter of reflection,

correction, and presentation of alternative ways towards solving issues and problems which

will emerge during the period of societal cohesion”. Furthermore, Layiwola Adeniji (2007)

attests to this as he says “Yerima’s theatre as much as it can reflects man’s existential anguish

and unravels the human condition”. Thus, a cursory view of Prof Yerima’s work reveals

historical characters whether it is contemporary or historical figure; he enters a studious

engagement that exposes a lesser known side of personalities. In view of this, Ahmed Yerima

(2010) says “I like to study the inner minds of these characters”. His desire is to know why

notable people faces some situations like why a king such as Ameh Oboni commits suicide

and Ovonramwen being compared to God felt so in secured or why should Attahiru be

forced to fight a war he never prepared for . These are some of the notable characters in his

historical plays that are used to reveal the problems some of the contemporary leaders

encounter. Prof Yerima sees himself as these leaders and imagines if the society has grown

beyond these problems. Often times, personal answers can be derived because those heroes

are dead and can’t speak for themselves. The creative muse of a playwright could also create

reasons in such instances.

History is of the past and we are meant to learn from history but many are not learning from

history and they end up falling several times. Supporting this view, Ahmed Yerima (2010)

says that:

Many of our leaders refuse to learn from the past. My new work
Mojagbe based on the Oyo Empire exploits the theme of
excessive power. It shows how power corrupts man to the point
that he confronts death and thinks he is beyond dying. I think
that death is the only thing our leaders fear; I think that is why
God put it there. The fear of death is the only reason man is
slightly sane, knowing that the only thing greater than him is
death.
In an interview with Prof Yerima (2010), the conversation goes thus:

Researcher: Sir, you dwell more on historical plays. Why?

Prof. Yerima: History is made of facts and the problem I have is that there are too many

facts available. Each time I write a historical play, the owners of the history are helpers. I do

not have the luxury of putting a lot of fiction into it.

Researcher: In what way sir?

Prof Yerima: For instance, I know a meeting happens in the palace, I create the dialogue but

the incident is there unchangeable. I do not distort history because I want to achieve a

specific purpose which may be controversial.

Researcher: Have you been confronted by any ethnic group that you did not portray their

culture rightly?

Prof Yerima: No, the people who own the history must be able to accept it or they would not

learn from it. The Igala people accepted the Ameh Oboni though it was a negative act of a

great king.
 However the historical plays are meant to tease out further materials and truth about

the characters, rather than creating any form of controversy that could throw a playwright and

his play out of the society.

A playwright like Ahmed Yerima will only be relaxed when a society or culture gives a

positive response either after reading or watching a play about them, thereby accepting the

play as Ahmed Yerima (2010) maintains that “the society must accept your work for a

playwright to be relevant”.

RELEVANCE OF HIS WORK TO CONTEMPORARY NIGERIA

There is general belief that plays should treat issues since every artist represents a society. An

artist in this case cannot be totally alienated from the environment in which he dwells. Prof.

Yerima in this capacity makes great use of happenings around his society and makes a

positive impact in this regard by using his family plays such as The Sick People, The Sisters,

The Wives, The Twist, The Angel, The Portrait, and The Mirror Cracks. Ahmed Yerima

(2010) stresses further saying

I think my concern for the family is my interest in the

intrigues that go within the family and also how certain
actions of people, other members of the family, affect
people, generations to come, that is why I wrote a play
like The Sick People.
A reader of The Sick People will wonder the guiding metaphor of the play but the playwright

was actually looking at everybody being sick, not physical sickness but sometimes mental, or

psychological, based on actions that take place in the family. Some playwrights regard the

family to be a small society. Therefore, a family can be used to reveal issues to the audience,

as Ahmed Yerima (2010) submits that

I think with family plays, members of the audience look at

it and then say quietly, this is me. I did this when my
father died. I behaved like this when something happened,
 therefore maybe I made a mistake, and okay I won’t do it
again.
The above comment is that theatre or plays should be a strong weapon in instructing,

correcting, informing as well as educating and this is not different from the theatre practice of

the famous German director Bertlot Bretch.

Furthermore, another strong issue Prof Yerima highlighted in one of his plays is the issue of

war. He uses Little Drops to reveal the intricacies of the effect of the Niger Delta crisis as he

says (2010)

A lot of people believe that the Niger Delta is first about

oil and money. Little Drops is a play beyond oil and looks
beyond money. It looks at the lives of innocent people that
are being killed; women and children suffer it.
However one would realise that it is the war in countries like Sudan, and Afghanistan that

must have spurred our scholar into foreseeing what could become the outbreak in the Niger

Delta. Stressing further, Ahmed Yerima (2010) says he wants women to ask questions such

as

Whose war are you fighting? For whom? Because if you

are fighting for we women and children, then why are you
killing us?
Truly the playwright has a strong point because if these women and children are being killed,

who will then be left after the war? This is a question for generations of men to think about as

they make decisions. Finally, with these great works and approach to writing of Prof Yerima,

there is a wide range acceptance of his works that comes without any burden as many

universities in Nigeria study his works.

CONCLUSION

One intricate thing about a theatre artist and his work is that in one way or the other, he learns

and most times what he portrays influence an aspect of their life. This is not an exception for
Prof Ahmed Yerima (2010) as he confides in me saying “they have influenced my leadership

style”. There should be utmost believe in what an artist writes in order to portray them very

well. This is why an artist that writes beyond his cultural terrain will definitely grab a

philosophy to add to his being. According to Ahmed Yerima (2010),

Through these works, I am always reminded that I am

human; that power is transient. That it is not how long you
stay in power but what you do with it matters. I am
reminded that all men must die. These lessons help me to
extend respect and fairness to everyone that I come across.
These are my guiding principles in leading other people.
On second thought I think the best guide would be those
who watch me lead.
With the above statement, Prof Ahmed Yerima undoubtedly succeeded all through his service

year at National Theatre, a place where people of diverse culture exists. Different

departments worked with him and have helped him in the development of his interest in

writing about people’s culture and history.

Thus a scholar with cultural divergence will definitely have much to offer to those who look

up to him. No wonder he was an overseer of the Abuja Carnival which he cherishes for

adding to his national profile. Prof Yerima (2010) sees it as a ladder to the top as he says “I

get to meet with all the directors of culture in the states. What I have learnt now, I am in the

middle of a show and I am just picking experiences”. Obviously, Prof Yerima sees every

work of art and culture around him as a vehicle to progress. No wonder, students in

universities will not stop the demand for his books or works as this privilege confers much

pressing responsibility to offer the right guidance of a whole generation who are vicarious

participants of his experience. Ahmed Yerima (2010) assures student as he says “I can’t

afford to do anything that will mislead our youths in universities”. Actualizing his words,

Prof Yerima has helped students in one way or another to get a Ph.D and Master’s Degree

respectively over the years.

In conclusion, he should be satisfied to live in the minds of generations of students that have

either sat in his lecture room or come across Prof Yerima in relation to work of arts.
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Ekah, M. (2007).Accolades for Yerima.Lagos. Lagos Article Publication.

Brook, Peter. (1996). The Empty Space.

McPhilip, N (2006). National Troupe takes Traditional Dance to the E-World.

Yerima, A. (2015). Culture, Drama and National Ethos. Ibadan: Ebony Books and
Kreations.

Gabriella, O.S. (2008). Prof Ahmed Yerima–I’m an Adopted Son of the Yoruba. This
Day Article Publication.

Okon-Ekong N, (2008). Prof Ahmed Yerima, I’m an Adopted son of the Yoruba.
Article: This Day Publication.
Layiwola A, Bimbo J, Toyin and Akin. (2007). Their Comment in Muse and Mimesis:
Connecting with Acolyte of Creative Muse.
Okediran, Wale. (2006). NLNG (Nigeria Liquified Natural Gas) Award Nite.

Yerima, A. (2010). Wole Soyinka was a like a god for me. Lagos; Nigeria Compass.

INTERVIEWS

Dacosta, Adeyemo. (2010). Former Artistic Drama Director, National Theatre, Iganmu.
Lagos Nigeria.
Arnold, Udoka. (2010). Dance Director (Choreographer), National Troupe of Nigeria.
National Theatre, Iganmu. Lagos Nigeria.
Ahmed, Yerima. (2010). with Femi Jacob.