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What you don’t know about Hubert Ogunde as he posthumously turns 100

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On 10 July, 2016, the late dramatist and doyen of African Theatre, Chief Hubert Adedeji Ogunde, would be 100 posthumously. Many activities have been lined up to mark the late playwright’s centennial post-humous birthday celebration. One of these is the presentation of his abridged biography, Hubert Ogunde: The Doyen of African Theatre, being written by young poet and author, Adedara S. Oduguwa.

While the book may not be ready before the late Ogunde’s centennial birthday, the author has released an abridged version of it to whet the appetite of readers and millions of the late dramatist’s admirers.

Beyond his thespian prowess, he was highly political, a disposition that made him suffer persecution under colonial and post colonial governments. The author wrote about how Ogunde spoke truth to power without minding the consequences: “Ogunde was an outspoken contemporary political commentator, who was ready to risk the possible destruction of his Theatre in order to fight for the freedom of his people from alien rule. He was jailed and banned on several occasions for fighting and standing against the devious colonial regime with all his brains.”

PROLOGUE
History of African opera, play, drama and theatre would be incomplete without mentioning the name of this great and very industrious dramatist, who, more than any, contributed in no small measure to the commercialisation of drama in Nigeria, West Africa and Africa as a whole. To many, he was the doyen of African theatre, father of Yoruba operatic theatre, a respected pioneer of the Nigerian drama. Very often he was referred to as ‘Father of Nigerian folk opera’.

EARLY LIFE
Olooye Hubert Adedeji Ogunde was a folklorist, Nigerian actor, playwright, musician, dramatist, theatre manager, policeman, teacher, teetotaller, human right activist, seer, prophet and a nationalist of class. Like any mortal, he was born into a modest but reputable family of Mr. Jeremiah Dehinbo Ogunde and Mrs. Eunice Owotunsan Ogunde on Monday, July 10th, 1916 at Ososa in Ogun State.

Elder Ogunde was a pastor at the Baptist Church, Ijebu Ife and a disciplinarian, whose father and forebears were Ifa worshipers and founders of Ososa town, while Madam Eunice Ogunde was a trader whose parents were also worshipers of Ifa deity. Ogunde’s mother was a pagan at the time he was born. But after his birth she was converted to Christianity. The duo raised and taught their children about African culture and demagogues, an act which helped young Ogunde later in life.

At the age of nine, young Ogunde entered Saint John’s Primary School, Ososa for his elementary education and left the school in 1928 for Saint Peter’s Faji School, Lagos State where he was until 1930. Between 1931 and 1932, Ogunde was at Wasimi African School, Ijebu-Ode. His graduation from Wasimi African School actually marked the end of his entire formal education. He altogether spent approximately seven years acquiring formal education. Despite his few years in formal education, Ogunde’s command of English was not only excellent but much better than many university graduates of his time.

OGUNDE: A TEACHER AND CHRUCH ORGANIST

Between the age of 17 and 25 (1933-1941) young Ogunde was a school teacher at Saint John’s Primary School, Ososa and a dedicated church organist. As a pupil teacher, Ogunde taught in the elementary classes for eight years, an act which was predominant among few educated Nigerians at the time. He organised his first band as a teacher at Oke-Ona United School, Abeokuta. It was during this period he developed special skills for opera and folklore, which in later life propelled him to become the greatest Nigerian folklorist of all time.

OGUNDE: A POLICE OFFICER
After about eight meritorious years in the teaching profession, he joined the Nigeria Police Force in December, 1941,during a holiday in Ibadan in a bid to serve his motherland better. He was later to be transferred on training to the Police Training School, Enugu which later led to his appointment as a Third Class Police Constable. As a Police Constable, Ogunde was diligent and performed his duties with all his brains.

For this, he was transferred to Nigeria Police Force ‘C’ Division, Ebute-Meta, Lagos. By March, 1945, approximately four years in the Nigeria Police Force, Ogunde resigned from the Force in order to pay full attention to his passion- acting. His passion for opera was mind-blowing. His resignation was spurred by reckless and gross misconduct of the colonial regime, which was demonstrated by Ogunde in his much talk about 1945 opera entitled ‘Worse Than Crime.’

The opera was a political satire on the colonial masters which was aimed at establishing that ‘Colonialism in any shape or form is worse than crime.’ This earned Ogunde and Mr. G.B. Kuyinu (His co-director) two days in the police custody. The opera was staged at Glover Hall and the late Dr. Nnamdi Azikiwe chaired the show.

Mr. Ogunde’s altruism also pushed him to produce an opera ‘Strike and Hunger’ in 1945. The Opera was topical. “It narrated the events leading to the famous general strike by trade unions for better wages, cost-of-living allowances and improved conditions of service. The strike began in late June 1945 and lasted for forty-four days.” This play shot Ogunde to national prominence.

BIRTH OF OGUNDE’S DRAMA

Monday, 12 June, 1944, was a special day in the life of young Ogunde. That was the day he produced his first and oldest opera ‘The Garden of Eden and The Throne of God’ at the Glover Memorial Hall, Lagos, through the support and sponsorship by Church of the Lord, Ebute-Meta. The content of the opera was biblical. It enunciates the ‘fall of man and his expulsion from the Garden of Eden.’ The folk dance by Messrs Hubert Ogunde and G.B. Kuyinu were loudly applauded. Other characters in the opera included: Miss Kotoye Oshodi, Mr. S. O. Okeowo, Mr. E.O. Adeleke, Miss M. Samuel, Miss M. Adenuga, Miss C. Bajomo, Miss K. Ashabi and Mrs. King. “The audience that night which was over 1000 all clamoured for a repetition of the play at no distant date.”

On Stage - As Oba Fiwajoye

In 1945, the success recorded with ‘The Garden of Eden and The Throne of God’ motivated Ogunde to establish his first company the ‘African Music Research Party.’ This was an amateur dramatic society. As the saying goes ‘Rome was not built in a day’. This was the first professional step taken by Ogunde in his new-found drama career. In the wake of 1946, Ogunde turned professional with the production of the ‘Tiger’s Empire’ which was his first opera as a professional under his company (African Music Research Party),
although Ogunde was warned by the police for showing the ‘Tiger’s Empire’. The opera was showed throughout the defunct Western Region. In 1946, Ogunde was banned from staging the opera in Jos, Northern Nigeria. This also earned him £125 fine. At this point he took his company outside the borders of Nigeria to Dahomey, present day Republic of Benin. This marked his first international outing.

In September 1946, Ogunde felt the need for training and development as a professional playwright. He applied for Passports and UK Visas alongside with his companion Miss Clementina Ogunbule who later became Mrs. Ogunde (the late Mrs. Adesewa Ogunde- Mama-Eko). Unfortunately, he was refused. This refusal led to another confrontation with the government. To this end, the media supported him and by March, 1947 passports and visas were granted to Ogunde and his partner.

In England in 1947, Ogunde was admitted into Buddy Bradley School of Dancing at the Piccadilly Circus, London. This is the root of his much talked about aesthetic dances in his plays.

On his return from Britain in October 1947, the company name was changed from ‘African Music Research Party’ to ‘Ogunde Theatre Party’. This might be due to the exposure and influence of Great Britain on Mr. Ogunde. “That Ogunde financed his trip unaided indicated not only the success and popularity of his Party but also his financial achievement in a short space of time.” And before December 1947, Ogunde had become ‘Nigeria’s theatre king’.

In 1948, ‘Ogunde Theatre Party’ travelled to the Gold Coast (now Ghana) to perform the popular opera entitled ‘King Solomon.’ This outing was disastrous as the majority of his Ghanaian audience did not understand Yoruba. He returned to ‘Nigeria penniless after owing his cast a month’s salary and the lorry-owner the fare.’ But as a determined entity, Ogunde did more research on the Ghanaian audience, put together a variety of programmes and called it ‘Swing The Jazz’ and this time, the tour was not only a success, but profitable.

Between 1949 and 1950, hardworking Ogunde had extended his works to other parts of West Africa including the Ivory Coast (now Cote d’Ivoire). ‘Ogunde Theatre Party’ was banned in Kano (also in Kaduna and Makurdi) on May 8, 1950, for staging the social lampoon opera titled ‘Bread and Bullet’ and was arrested for sedition. He was charged to court, later discharged but fined £6 for pasting posters for the play without prior permission from the government.

Towards the end of 1950, ‘Ogunde Theatre Party’ was changed to ‘Ogunde Concept Party.’

In 1951, Ogunde marked the seventh anniversary of his theatre with the production of the opera ‘My Darling Fatima.’ For almost the next decade, Ogunde produced eight more plays and also toured the nooks and crannies of Nigeria, West Africa and the world as a whole.

In 1960, Ogunde was invited to produce a play ‘Song of Unity’ for Nigeria at independence. The play was staged at Glover Hall, Lagos and commissioned by Nigerian Government to mark the independence of Nigeria. Ogunde changed name again to ‘Ogunde Theatre’ a name that stuck on him till today.
Between 1960 and 1963, no single song or play was written by Ogunde. He only concentrated on the review and modification of his numerous works to fit into the taste of the early 60s.

In 1964, there was a political tumult in the then Western Nigeria. Chief Awolowo was incarcerated on treason accusation and Chief Ogunde, wrote the highly controversial account for his indictment entitled it ‘Yoruba Ronu (Yoruba Think!).’ This account put him at loggerheads with Chief S.L. Akintola who was at the time Premier of Western Region since the play directly attacked him and his government. For this, Ogunde Theatre was banned for two years (1964-1966). And in reaction to his ban, Mr. Ogunde produced ‘Otito Koro’(Truth is Bitter). This ban had grave financial effect on him since the majority of his audience were in the Yoruba speaking Western Region.

Ironically, Yoruba Ronu was a prophecy about the days to come. And by January 15, 1966, the prophecy came to pass and Akintola’s government was not only ousted from power, but many paid with their lives. The military took over power and on request; the ban on Mr. Ogunde and his company was lifted by Lt. Col. F.A. Fajuyi, the newly appointed governor of the region.

By 1967, Ogunde Theatre had grown into an institution. The theatre was to represent the Nigerian Government at Expo ’67 in Montreal, Canada. The Theatre utilised this opportunity stop by in the U.S. and performed in the famous Apollo Theatre in Harlem, New York City.

In 1968, Ogunde Theatre was also invited to perform at the International Llangollen Eisteddfod, North Wales and Fairfield Hall, Croydon, Great Britain. Ogunde also produced ‘Ire Olokun’, ‘Keep Nigeria One’ and ‘Mama Eko’ in the same year.

In 1969, Ogunde Theatre reached an important milestone , as he took a 45-member dance troupe abroad and performed extensively in Britain and Europe with a special production called ‘Oh Ogunde’ and also while in London produced ‘Obanta’ and ‘Ogun Pari (War is over).’ In addition, Ogunde Theatre performed in the Municipality Milano in Italy that same year.

Between 1970 and 1989 Ogunde staged Ewe Nla, Iwa Gbe Mi, Onimoto, Kehin S’okun, Muritala Mohammed, Ore ni won, Igba T’ode and Orisa Nla. In 1979, Ogunde veered into movie production with the blockbuster film Aiye. He followed this the following year with Jaiyesimi in 1980, Aropin N’tenia in 1982 and Ayanmo in 1986. And by 1990, Ogunde briefly featured in the popular movie, Mr. Johnson. Sadly, it was while in the location of the film Mr. Johnson, which was in collaboration with a UK-based English producer that he was taken abroad on a chartered private jet and he passed on. In all, Ogunde wrote over 60 stage plays/opera, produced four films and 99 songs.
Mr Ogunde also had a TV programme called The Hubert Ogunde Show on NTA for about a year (1971-1972).

Ogunde founded the Union of Nigerian Dramatists and Playwrights and became its first president. The Union is today called Association of Nigerian Theatre Practitioners (ANTP). Hence, the ANTP now boasts of membership in the hundreds and professional travelling theatre companies throughout Nigeria.

In 1975, the Union of Nigerian Dramatists and Playwrights rejected the invitation of the South African Troupe to stage Ipi Tombi to mark the official opening of the National Theatre, Iganmu. Ogunde’s objection in his capacity of President of the Playwrights was that an indigenous company should have the honour.

Ogunde was invited by the Federal Government of Nigeria in 1986 to demonstrate if the formation of a national troupe is viable. This led to what is now known as the Ososa Experiment. It was the success of this experiment that led to the formation of the National Troupe of Nigeria. He thus became its first Artistic Director/Consultant. However, at the time the Nigerian film industry was using 18mm analogue camera, Ogunde was already using a 35mm analogue camera.

Ogunde was a man of excellence, a thorough and hardworking artist, who will give all to get the best out of his numerous casts in his plays and films. Before any play is shown, he organises practice sessions for his cast for at least nine months to one year. His play rehearsals which were twice a day start from 8am to 2pm and 4pm to 9pm, Monday to Saturday. They were rigorous, with a day set aside for dress or costume rehearsal. The play making processes were often managed satisfactorily by the workaholic Ogunde before any play is shown. No wonder the successes recorded by Ogunde through his 47 years excellent performances on stage.

OGUNDE: A FAMILY MAN
As husband and father, Ogunde was able to integrate his wives and children in his company and livelihood. It is believed that he fully enjoyed the joy of family life and of seeing his children grow up under his watch. Ironically, Ogunde who at the last count married 17 wives and had numerous children ensured his children ate from the pot. This helped to bond everybody in the family. Mr. Ogunde after morning exercises attended to morning routines and sat among his wives, joked and played to bring happiness to them and their children.

RADICAL OGUNDE

Between 1971 and 1975, Ogunde had constant press battle with the organisers of the second world black and African Festival of Arts and Culture (FESTAC) over what he considered inadequate and unprofessional arrangements for the festival. He also objected to the high cost of hiring the National Theatre.

In 1976, he marked the thirty-third anniversary of his Theatre in January with the dance drama ‘Nigeria.’ The production which was also to commemorate FESTAC, therefore gave full support to the Festival on ground of patriotism.
In 1977, Ogunde succeeded in having the cost of National Theatre reduced, which led to the premiere of ‘Igba t’ode’at the National Theatre, thereby making it the first time in thirty-four years that Ogunde would stage a play in the National Theatre, Iganmu, other than at the Glover Memorial Hall.

OGUNDE: A NATIONALIST
Ogunde was an outspoken contemporary political commentator, who was ready to risk the possible destruction of his Theatre in order to fight for the freedom of his people from alien rule. He was jailed and banned on several occasions for fighting and standing against the devious colonial regime with all his brains.

The Nigerian Nationalists movement did not entirely leave him to fight the government alone. They supported him morally and protected him through their various press companies. Believing that the victimization of his Theatre often arose from official aversion of his nationalist bent , not only did they give him protection and cover from the law but they also often allowed him use their press to speak directly to the public about various acts of victimization that he suffered. The West African Pilot, Daily Comet and Daily Service, were the few newspapers that supported Ogunde in his nationalistic rather than radical behaviours.

According to an editorial in Zik’s West African Pilot Newspaper (1947) “Ogunde‘s preoccupations with the projection of the cultural as well as the political identity of his people were enough for the nationalist movement to call him ‘a genius’ who did not seek ‘wealth’ or ‘fortune’ … nor self inflation or any other artifice of fame, a genius who was once a poor police officer, perhaps one who shared with three others ‘ten by eight!!’ A day came when he sat down, racked his brain, composed nature airs and dramatized them and by 1947, had become ‘Nigeria Theatre King’.

Professor Ebun Clark: Praised Ogunde's creativity
“The nationalist movement maintained that through him ‘the realm of the theatre has become a living reality’. They recommended Ogunde’s efforts to all saying that repining in indolent idealism can avail nothing. It is courage to take risks and determination to forge ahead in spite of man-made handicaps. Good luck to Hubert Ogunde.”

In the words of Prof. Ebun Clark , “Ogunde was a pure nationalist who believed that the only quick way to liberation was through a united national front that could face and rout the army of the colonial ruler to free the people.”

Ogunde became the most popular Nigerian Musician and Dramatist of all time. This is owing to his sheer discipline, determination, integrity and absolute commitment to the institution of drama and a free Nigeria.

OGUNDE: AWARDS AND HONORARIES
In 1983, Ogunde was awarded the Order of the Federal Republic of Nigeria (OFR) by the Federal Government under President Shehu Shagari, unbelievably; Ogunde rejected the honour arguing that corruption was endemic in the land.

In 1987 and 1988, Ogun state Government awarded Ogunde the Excellence Award in the field of Drama and Film Production which he joyfully accepted.
In 1985, Ogunde was awarded Honorary Degree of Doctor of Literature by the Obafemi Awolowo University, Ile-Ife and Honorary Degree of Doctor of Letters by the University of Lagos on Friday 17th of January, 1986.

EPILOGUE
In Scotland (1986) Ogunde showed his Play DESTINY which was Nigeria’s entry into the Commonwealth Festival of Arts in Edinburgh. The play was described by the Scots as an Epic of its time. Ogunde was also described as one man with unique and large reservoir of creative resources to draw from. His plays are often different from others always attracting his numerous audiences. With his unique and unbeatable dance steps remain evergreen in the Nigerian Theatre. Ogunde also helped to advance dances such as Bata, Koto, Fishermen, and women dance, Itsekiri dance, Sango Dance, Agbekor with the dances always showing smiles of Africa.

Ogunde was not only a pioneer in the Nigeria field of Drama, he saved Nigeria’s native music and drama. For this, he becomes the acknowledged leader and father of contemporary Yoruba Theatre.

“For all the Nigerian Playwrights in Yoruba and indeed in English, Ogunde was the most consummate social commentator and satirist, who easily make his views on people and events known through his sketches and characters” (Clark,1979).

Ogunde died at 5:25a.m on Wednesday, 4th of April, 1990 at Cromwell Hospital, London. He was aged 74.

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