Funmilayo Ranco Feminist Self-Assertion in Late-20Th-Century Yoruba Traveling Theatre Ngozi Udengwu

Funmilayo Ranco Feminist Self-Assertion in Late-20th-Century Yoruba Traveling Theatre Ngozi Udengwu

Boxer, Motor Park Attendant, Theatre Manager Funmilayo Ranco (1942–1984) was the only female actor-manager in the professional Yoruba traveling theatres in Nigeria between the 1960s and early 1980s. She was a self-proclaimed feminist.1 Gboyega Ajayi, who had worked with her and remained friends with her until she died, was the first to suggest this to me (2012). Ranco did not just say it; she demonstrated it by playing strong male roles in her theatre. At that time Nigerian women shied away from being branded “feminists” even though they agreed that women were marginalized and oppressed in society. Despite her significant contribution to Nigerian theatre, Ranco has been neglected by theatre scholars and historians. She was a remarkably talented and resourceful woman: besides working in a motor park,2 she was a professional boxer and wrestler before she went on to found her own theatre in 1964. It was rare during the early 1960s — and still is — to find a woman working any of these jobs. A native of Ilesha, a Yoruba city in southwestern Nigeria, Ranco was one of 27 children of Richard Ajayi (a.k.a. Onigilese) and his five wives. Her mother, Ayoola Ajayi (known as Ayo Agbeke after she left Richard Ajayi), was Richard’s second wife and the only wife from outside Ilesha. Ranco was her only child. Funmilayo Ranco defied gender stereotypes from a very young age. Growing up, she dressed and behaved like a boy and preferred typically male activities. While her behavior was over- looked while she was young, when such children have sometimes been called “tomboys,”

1. All unattributed information and quotes are from my extensive personal interviews with Funmilayo Ranco’s family members, contemporary theatre practitioners, fans, television producers, close friends, as well as her for- mer lovers. These were conducted in the six states of Western Nigeria — Ekiti, Lagos, Ogun, Ondo, Osun, and Oyo — between 2011 and 2012. Research for this article was funded by a fellowship grant from the African Humanities Program, established by the American Council of Learned Societies with financial support from the Carnegie Corporation of New York. 2. In Nigeria, a motor park is where commercial commuter vehicles load and off-load passengers and goods. The workers have a union and members register to use the space, pay levies, and also pay for each loading.

Ngozi Udengwu is Senior Lecturer in the Department of Theatre and Film Studies at the University of Nigeria, Nsukka; a Fellow of the American Council of Learned Societies (ACLS); and the author of Contemporary Nigerian Female Playwrights: A Study in Ideology and Themes (Lambert Academic Publishing, 2012). She is currently working on a manuscript on women in the professional Yoruba traveling theatre. A member of the International Federation for Theatre Research, she has delivered conference papers in many countries including the USA, the UK, Sweden, India, South Korea, South Africa, Uganda, and Tanzania. [email protected]

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— The Garden of Eden and and Eden of Garden The started their own amateur Hubert Ogunde: The Making of of Making The Ogunde: Hubert 5 When the pressure to con- When the pressure 3 like a man’s (Agbeke 2012). At (Agbeke 2012). like a man’s — magazine. Her mother, Ayoola, while confirming this, this, confirming while Ayoola, mother, DrumHer magazine. in 1964 while Ranco continued working in the in 1964 while Ranco continued working 6 not deemed an appropriate job for a woman but better than not deemed an appropriate job for a woman —

, for the fundraising ceremony of his church. See Ebun Clark’s Clark’s Ebun See church. his of ceremony fundraising the for God, of Throne the (1979). Theatre Nigerian After schools. respective their represent to went they sportsa in met Ranco and where stadium Monisola when was That level. professional a to it raised and theatre the transformed Ranco married, get to left Monisola other to tours her extended She Theatre. International Obokun Irawo to troupe the of name the changed she the for bus wagon first her purchased and fighter ring a as popular already was she where countries African road show. star. budding means Obokun” “Irawo stated that in fact a copy of the magazine was kept in their home until a fire destroyed everything they owned. owned. everything they destroyed fire a until home their in kept was magazine the of copy a fact in that stated play, first his Hubert produced Ogunde when 1944 in born was theatre of form This I was unable to obtain the picture that would have illustrated this better. At least three people mentioned they they mentioned people three least At better. this illustrated have would that picture the obtain to unable was I of cover the on ring boxing a in her of picture a saw Ranco’s role in her new theatre changed when the lead male actor failed to turn up for a Ranco’s role in her new theatre changed As Ranco grew older, the confusion over her gender had more serious repercussions the confusion over her gender As Ranco grew older, 5. 6. 4. 3. form to traditional gender roles became too great, Ranco quit the ring and got a job as a ticket Ranco quit the ring and got a job great, form to traditional gender roles became too officer in the Ilesha Motor Park One day in was when she was first exposed to the theatre. That fighting in the ring with men. founding the popular traveling theatre in Nigeria in 1944, credited with Hubert Ogunde, 1962, brought a performance to Ilesha. The venue was the Ilesha Motor Park where Ranco worked. venue was the Ilesha Motor Park where Ranco worked. The brought a performance to Ilesha. she park tickets and her profile as a wrestler, Because of her experience handling the motor After observing the work of Hubert performance. was put in charge of the box office for that Western Nigeria, professional traveling theatre in the first independent Ogunde and company, Ajayi, Monisola days, Ranco and her closest friend from their school motor park. motor park. to disappear before and sometimes during perfor It was common for actors scheduled show. mances. At the time, socially acceptable performances were associated with festivals and cere- socially acceptable performances were associated with festivals At the time, mances. A person performing outside the parameters of monies and only took place during such events. These performers were accused of sex- and foolish. a sanctioned event was viewed as a rascal As frivolous. their performances were deemed unpaid, and because the work was ual immorality, invade perfor parents banned their children from performing for the troupes and would such, or lock them up in the house to prevent them from mance venues to whisk away their children convinced Monisola usually unannounced. Hence actors tended to come and go, going out.

school, she engaged only in male-dominated sports such as football, boxing, and wrestling. She and wrestling. boxing, such as football, sports engaged only in male-dominated she school, - for social injus Her intolerance men. levels where she fought two to professional took the last When Ranco finished at school. at an early age and got her into fights tice also revealed itself Despite the disapproval of school. was no money to send her to secondary there primary school, and box- began to pursue her passions: wrestling she instead her mother, especially her family, more traditional women’s behavior that her only child had abandoned Her mother grieved ing. pregnant while she was still Ranco became problems with her family, add to her To and roles. it was not possible for him to purportedly stating denied responsibility, in school by a man who Molara, gave birth to her daughter, She who then claimed to be pregnant. have slept with a man in the early 1960s. Ranco’s case took a surprising twist when she failed to develop breasts as an adolescent. Her Her an adolescent. to develop breasts as twist when she failed took a surprising Ranco’s case prove that to the world, she tried to later in her performances and she was a girl, family insisted an mother stated during Her to believe. not quite sure what I spoke with were still but people gait voice and vigorous Ranco had a strong interview that especially for her wrestling and boxing. In the ring, there was no way for anyone to know if she there In the ring, and boxing. especially for her wrestling she dressed the same as her male opponents. was a woman because theatre group called Irawo Obokun Theatre theatre group called Irawo Obokun Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on23 September 2021

54 Ngozi Udengwu played thepartanditwasasuccess. Fromthenon, sheplayedtheleadmaleroles. Ranco that, givenhermanlylooksandbehavior, sheshouldtakethemissingactor’srole. Ranco ger atsecondaryschools, townhalls, andhotelswhere showscontinueduntiltheearlymorning sons oftheplay. The openinggleecouldlastfrom 20minutestoanhour. Itwasgenerallylon- play; (2)theplayitself;and(3)closingglee, ashortseries ofactsoftenunderliningtheles- glee closing gleechanged. Ranco andher Yoruba travelingtheatre, thefunction ofnotonlytheopeninggleebutalso pledges andpayhomagebeforethemainperformance. However, inthehandsofFunmilayo The so-calledopeninggleeisatraditionalentertainmentpiece whosefunctionistomake Opening GleeandClosing outside Nigeria. of hercompanytoIrawoObokunInternational Theatre andtouredwidelybothwithin had quitherotherjobsandwasafull-timeprofessionalinthetheatre. Shechangedthename been rentedwasnowpurchased, includingavehicleandpublicaddresssystem. By1967Ranco continued toexpand:moretalentedperformersjoinedthetroupe, andequipmentthathad Oredunni (AFriendinNeed), wasaninstanthitwithinIleshaanditsenvironsthetroupe posters andahiredvehiclewithmegaphonetopublicizeherperformances. Herfirstplay, not hermother’sbirthplace. against thedead;accordingto Yoruba traditiononeshouldbeburiedintheplaceofherbirth, when hermother’sfamilybroughthometoIlesha. This refusalsignifiedagreatinjustice of Ijebukillingherbecauseshehadbecomesuccessful, sotheyrefusedtoacceptherbody could betakentothehospital. Herfather’speopleinIleshaconsequentlyaccusedthe and continueddrinkingonlytoclutchherstomachwritheinpain. Shediedbeforeshe the funeralceremony, Rancosetdownherdrinkandlefttousetherestroom. Shecameback mysteriously andsuddenly. The storytoldtomebymanyI’veinterviewedrelayedthatduring persuaded hertoattendthefuneralofmother’ssisterinIjebu, andthatwaswhereshedied of thefamilyandseldomvisitedhermother’speopleinIjebu. Infact, itwashermotherwho her father’ssideofthefamilyandmother’s;Rancospentmoretimewith father’s firstwife, Oladunni Ajayi, whopassedawayin2014. Therewasadisconnectbetween including costumes, andherboxingwrestlingtrophies. ing politicalparty. father’s housewasdestroyedbypoliticalarsonistswhowereangrythathehadjoinedanoppos- a lotofcontroversysurroundingherdeathandlongstorybehindit. death in1984attheageof42. The popularopinionwasthatRancopoisoned, buttherewas ing theatreinthe1960sand1970s. Hercareerlasted20years, upuntilhersuddenanduntimely 7. Performances intheNigeriantravelingtheatrehaveathree-part structure:(1)theopening When shefirststartedoutwithheramateurcompany, Rancohadtousehandwritten his daughter must have been too much for her 86-year-old father and he died about six months after Ranco. Ranco was just beginning to resume her theatre work when she suddenly passed away. The loss of his home and including Ranco’sbelonging to NPN supporters, father, whose house was razed to the ground. After this tragedy, Shehu Shagari went in favor of the rival party, the National Party of Nigeria (NPN), led by then incumbent President Alhaji dence from Great Britain in 1960 (Sunshine Herald 2017). Angered by the apparently rigged election The 1983 general election in Nigeria was described by the There wasanotherreasonforsuspicionregardingRanco’sdeath. The previousyear, her Ranco’s mother, Ayoola, leftRanco’sfatherandabandonedher. Shewasraisedbyher A singlemother, RancowastheonlyNigerianwomantorunasuccessfulprofessionaltravel- — featuring songs, dances, acrobatics, chants — Unity Party of Nigeria went on a (UPN) rampage. supporters They burned houses and property 7 Rancolosteverythingtothefire:herbuses, hertheatreparaphernalia — Sunshine Herald as the most violent since indepen - which functionsasapreludetothemain — which Funmilayo Ranco 55 Figure 1: Ranco in her usual men’s fashion. (Courtesyfashion. Udengwu) Ngozi of Ranco1: men’s usual her in Figure - literally drumming up an audience. Early arrivals were sometimes Early literally drumming up an audience. —

Joel Adedeji describes the Adedeji describes Joel The opening glee served four troupes spent time before the performance drum- the traveling Despite advance publicity, hours; and shorter among elite shorter among elite hours; and audiences who had university Sometimes at spare. less time to it was completely universities, all, all in Despite this, left out. - glee was very popu the opening important part of the per an lar, formance that both performers formance that both performers forward to. and audiences looked “entrance opening glee as the song or chant that precedes the pro- parallel to a play” and the logue of Greek theatre Yoruba ijuba (invocation) of the Dapo masked theatre (1973:32). Adelugba and Olu Obafemi “a spectacular describe it as parade of dance and songs by the chorus dancers led by a lead who ultimately is the singer, What (2004:148). troupe leader” is not mentioned in the defini- tions above is the content of the opening glee; the sources cited are silent on the closing glee. purposes: (1) it let the audience know that the show was about to begin; (2) it held the attention of early arrivals as more spec- tators continued to arrive; (3) it introduced the leader of the who was also the princi- troupe, pal performer; and (4) it served as a ritual prayer for a successful performance. and dancing singing, ming, encouraged to dance. Everything was done to put people in a party mood, ready for com- to put people in a party mood, Everything was done encouraged to dance. the opening glee helped the leader of the troupe, By introducing edy skits and moralistic plays. The material of the traveling the- to draw crowds in if the troupe director was well known. while a written playtext carries the name and reputation so atre troupes was largely improvised, might win a following based on the reputation an improvised performance of the playwright, artist displayed her or his the principal therefore, In the opening glee, of the troupe’s creator. makeup for performance artistry before disappearing behind the stage to put on costume and appearance in the glee the initial when a performer was popular, Besides that, the central skit. proved to fans that the star was present. of Opening/Closing Glee Origin and Development was first used around 1910 by the Lagos Glee Singers to refer to “opening glee” The term The Lagos Glee Singers was one of the their entrance song (Adedeji 1973:37; Kerr 1995:84). Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on23 September 2021

56 Ngozi Udengwu another andevenfromoneperformancetoanother. InherstudyofOyin Adejobi’s theatre While mosttravelingtheatresusedanopeningglee, thecontentshiftedfromonetroupeto Opening GleeintheProfessional Yoruba Traveling Theatre and dancing. cal performance, theperformergreetsaudiencethroughtheatricalmeanssuchassinging bers. This lengthygreetingfeaturesprominentlyinthenovelsofChinua Achebe. Inatheatri- achievements andtheirfamily, andtoprayfortheirlonglifethelivesoffamilymem- among manyethnicgroupsinNigeriatoacknowledgeandshowappreciationforaperson’s indispensable foranyformofcommunication, interpersonalorgroup. Itisageneralpractice mance practicewithrootsinthe Yoruba practiceofelaborategreetingsandsalutes. Ijubais an homage, pledge, prayer, andsalute. respect andrecognitiontothesestakeholdersthattheopeninggleealmostalwaysbeganwith perform aswelltopraisepatrons, mentors, andhisinvaluableaudiences. Itwastogivedue had adutytopayhomagethroughhisperformancetheauthoritieswhopermittedhim witness theleader’stalent, whoowedthankstoGodcreatedhimwiththistalent, andhe ting, therefore, thetroupeleaderswerechiefhostsandcelebrants. All gatheredto directed theactors, composedthemusic, andfinancedtheproductions. Intheperformanceset- ated bytheleadactorforhimself. The leadactorownedthetroupe, wrotetheplays, castand he wastheleadactorwhoalwaysplayedprotagonistinplay. The performancewascre- major rolesandleadtheopeningglee. Itwasnotbecausehehadthebestvoice, butbecause where itmostoftenservedas “a formalsalute” (AdedejiandEkwuazi1998:23;Clark1979:97). social commentary. This didnotchangeinthehandsofpopulartravelingtheatreartists most usedforpledging, saluting, andpayinghomage, thoughsometimestherewasalsosome modernity andtradition, adaptedtotheirownneeds. Despitedifferences, itwasfirstandfore- tainer asatributetoOlogbinOlogbojo, thefatheroftraditionaltheatre” (1973:32). first employed “byEsuOgbin, theforemost Yoruba masquedramaturgandprofessionalenter the ijubaperformancein Yoruba traditionalmasktheatre. According to Adedeji, thiswordwas had beeninexistencebeforetheGleeSingerscoinedterm. Adedeji explainsthesimilarityto (Amankulor 1993:143;Boscolo2009:15; Adedeji andEkwuazi1998:21). However, thepractice most popularamateurperforminggroupsofthecolonialperiod;theywereuntil1917

Karin Barberrevealsthat 8. The term “opening glee,” therefore, isanEnglishnameforancient African perfor It wasthetraditioninprofessionaltravelingtheatreforleadertoplay The openinggleeisanindigenouspracticethat Yoruba performers, attheintersectionof (2000:57) reflecting onmoralandphilosophicalissuesorcommenting on topicalsocialtrends. posed forit. Bytheearly1980s, however, theopeninggleesongswereofageneralnature commented onthethemeofplay:eachplayhaditsownopening gleespeciallycom- pany, dressedinauniform[...]. Intheearly days[...]theOpeningGleeanticipatedand voice, accompaniedbyasinginganddancingchorus, made upofthewomencom- of amedleysongs, composedandsungby Adejobi inhiswonderfullymellifluous ing betweentwentyminutestohalfanhouratthebeginning of theshow, itconsisted repository of Adejobi’s personalgenius, hisgiftformusical composition. Usuallytak- Opening Gleebecamemoreseparatefromtherestofshow. Itremainedtheone as thetextof[Adejobi’s]playsbecameincreasinglycomposed ofspokendialogue, the tion to his work. Oyin Adejobi was one of the icons of the professional traveling theatre. Barber is the only writer to pay full atten- - 8

- Funmilayo Ranco 57 - The opening glee was quite 10 ) Ranco, as the lead singer, followed closely singer, as the lead ) Ranco, 9

Adebisi Ogunde is from Ilesha, the same town as Funmilayo Ranco. Adebisi had a troupe in Ibadan and came came and Ibadan in troupe a had Adebisi Ranco. Funmilayo as town same the Ilesha, from is Ogunde Adebisi

Of the six dancing girls, one was actually a boy, Abiodun Ajayi, a relation of Ranco’s who specialized in doing doing in specialized who Ranco’s of relation a Ajayi, Abiodun boy, a actually was one girls, dancing six the Of roles. dancing female Prince Comfort; member troupe sister, by Ranco’s rendered and recalled were essay this in used songs The close and colleague business a Ogunde, Adebisi and (2012); Ranco’s of fan a Olorunyomi, Bola Mrs. Obaleye; Yoruba English performance) the of language (the into translated later and in recorded were songs The associate. the however, lost; largely is audiences Yoruba-speaking in evoke lines the feeling the course, Of Makinde. Tobi by there. is meaning 1967, in troupe startedown she her with fulltime working Before newa troupe. organize to Ilesha to home drumsplaying drummergood a found he until him by out for him helped Ranco newhis for troupe. Here is Ranco’s opening glee as recalled by Adebisi Ogunde. by Here is Ranco’s opening glee as recalled Funmilayo, Funmilayo, Funmilayo Ranco. Funmilayo, Funmilayo, Funmilayo Ranco. Funmilayo, Funmilayo, Child who bears the name of the prized yam, Child of a peacock who hails from Ilesha. father hails from Ipetu-Ijesha. Your Ijebu is the home of your mother. “no place like home,” Birds will sing that there is other than where I was born, I do not want any other place, city of Ilesha, City of wealth and money, The blessings of God are upon Ilesha city, it is a big city, it is beautiful, it is good, My city Ilesha, make me forget Ilesha. There is no place I will be on earth that will Funmilayo Ranco. Funmilayo, Funmilayo, do not fight them. If they dislike you, do not speak. If they mock you, your behalf. The spirit of your forefathers will act on If you can give your fight to God and keep calm. will help you out of the fight. who does not die, God, 9. 10. tantly, self-assertion. self-assertion. tantly, Theatre Ranco International in the Funmilayo Opening Glee but con- followed a set structure, It was unique to her theatre company. Ranco’s opening glee The drummers came troupes. not seen in the opening glees of other tained some components as six young women danced onto The lights came on started to play. onstage in the dark and was famous for having the (Ranco “Funmilayo Funmilayo Funmilayo Ranco.” the stage singing, dancers in her troupe. greatest number of beautiful In Funmilayo Ranco’s theatre, however, the opening glee did not start with pledges and trib- not start with pledges the opening glee did however, Ranco’s theatre, In Funmilayo grew opening glee instead the In her practice, a moral lesson. her closing glee draw utes nor did impor most and, moral obligations, political comments, satire, accommodate social in length to behind her dancers, wearing one of her usual male costumes. The second line of the song again wearing one of her usual male costumes. behind her dancers, place of ori- times; the third line stated her oriki (praise name) and her repeated her name three and Ilesha of her father and mother, fourth line included the place of origin Ilesha; and the gin, but the length of six lines each, Her songs were often arranged in stanzas respectively. Ijebu, backstage to get ready for the she retired When Ranco was done singing, of each line differed. After the danc- dances. dancers entertained the audience with acrobatic play proper while her The main play began right and the lights went out. the drummers followed, ers left the stage, after that. long, but the stanzas selected below reflect the point that she did not employ it to salute or pay but the stanzas selected below reflect the point that she did not employ it long, homage to someone else. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on23 September 2021

58 Ngozi Udengwu song continues: members evenwhisperedtomethenameofmansuspectedstagingaccident. The was rumoredthatoneofherrivals, anothertheatreleader, plannedtheaccident. Hertroupe that year(1974). The vehiclewastotaledandshemiraculouslyescapedwithminorinjuries. It (Thank GodforSparingMyLife), wasclearlybasedonthenear-fatal caraccidentshesurvived her strugglesgrowingupbutcreatedplaysthatalludedtothem. Oneofherplays, K’AdupeEmi der andsexualidentityastheonlywomaninamale-dominatedfield. Shedidnottalkabout This thirdstanzaconfirmsthatlifewasnoteasyforRanco, becauseofhercontroversialgen- 11. who spoketomeaboutRanco. Shelookedeveryinchaman. Shebehavedand dressed asaman. could researchherbackground. However, paradoxically, shewasdescribedasamanbyeveryone name) threetimes. Shefollowed thiswithinformationaboutherparentssoanyonein doubt doubt, shebeganheropeninggleebypronouncingname, “Funmilayo” (clearlyafemale ing toprovethatshewasawoman. Sheneededtobecause shelookedlikeaman. To avoidany may, herprimaryreasontodowhatshedidwas controversialgender. Shelivedherlifetry- leading theatredirectorshadbeenestablishedsinceasearly the1940sand’50s. Bethatasit decades behindthefoundingfather, HubertOgunde. Hertheatrebeganin1964whereasthe Maybe sheneededsuchanintroductionbecausewasrelatively newtotheprofession, two exclusively male. ments asafemaletheatredirectorandstar, theonlyfemaledirectorinaprofessionthatwas used heropeninggleetointroduceherselfaudiencesand toassertheraccomplish- did thegleesofhercontemporaries. Heropeninggleedidnot introducethestory. Ranco zas butenoughtoshowthatRanco’sopeninggleedidnotbeginwithpledgesandsalutesas This wasatypicalOpeningGleeinRanco’stheatre. These arebynomeansallthestan- A ratcannotjustshoutanyhow;antsdonotovercomeanywhere. My lifewillbegood;mytimegoodlikeearlymorningwater. God, letourlifebegoodandlifetimebetter. It ismany, likeseasand. If astarappears, itfillsthewholeearth, It willappearatthebackofsuchaperson. If wearecountingstarsandsomebodysaysastarshouldnotberevealed, Throughout theworld, ourstarswillshine. Our starswillshine, ournameswillbeforgoodness. CHORUS: We arehereforyou, andyourgroupnameshallaffectuspositively. RANCO: Igreetyouall, mayyourstarsneverdim. CHORUS: Yes! Wehere.are RANCO: All youmyplayers, areyouthere? Lady Ranco, thecomposer, mayyourstarnevergodim, CHORUS: Funmilayo, thedirector, mayyourstarnevergodim, rant at her back but could not face her squarely. This is a literal translation, which likely meant: Her detractors were like rats and ants; they could only rave and Why didshestartbyintroducingherselfinsteadofmakingthe usualpledgesandtributes? A birdmustnotinformahorsebeforesittingonitsback. Any advicefromadeityisapprovedbyGod. “It isimpossible” isnotforthefirstcreator. Wind passesthroughwithfear. Today Iwillkill, tomorrowIwillkill. All treesrespecttheleader. 11 Funmilayo Ranco 59 - However, Ranco had throughout her life Ranco had throughout However, 12 protect Nigerians and the Nigerian army. 13

of peace.

This seems to contradict the information in another article of mine, “Bridging the Gap in Nigerian Theatre Theatre Nigerian in Gap the article another in information the contradict to seems This “Bridging of mine, actor- female three that I claimed There (2014). Theatre” Travelling Popular Yoruba the on Perspective Studies: really not were women two other the However, Theatre. Traveling Yoruba professional the in worked managers active was she when actor-manager female only the was Ranco after. one and before came one contemporaries: in thetheatre. Nigerian militarythe the was during loyalists federal the of leader and state of head Gowon Yakubu General civil war. Nigerians at home and abroad, we greet you. Nigerians at home and abroad, done on your preparation, Well are the ones fighting for unity in Nigeria. You The hand that goes up must come down. home. you must return In goodness and joy, the supporters of traitors be aware, The head of the traitors remember, day of judgment is around the corner. Your the traitors are forgotten, and When Nigeria defeats the enemy, shall be no war in Nigeria. there The day of joy in Nigeria will come, There will be no more conspiracy in Nigeria. who made Nigeria a nation Eledumare, God, we will give glory to People of Nigeria, One incident that shows how difficult it was for anyone who was not close to Ranco to who was not close it was for anyone that shows how difficult One incident among many at that me anecdotally confirmed that the perception Other stories told to and the leader of her troupe because there were Ranco had to assert herself as the director General Gowon, 12. 13. believe that she was a woman was relayed by Prince Obaleye, a member of her troupe. During During of her troupe. a member Obaleye, relayed by Prince she was a woman was believe that out woman’s partner pulled The white woman. and flirting with a Ranco was dancing a party, in such an explicitly sexual to shoot Ranco for dancing with his woman his gun and threatened with his dancing “man” alright because the people told him it was calm him down, To manner. (Obaleye 2012). lady was really a woman She appar likely a lesbian. although indicate that she was was a man, time was that Ranco mother told me there were as Her some of her actresses and dancers. ently cohabited with Her close friend, (Agbeke 2012). living with Ranco at one point many as 10 female performers her wives and they regarded the actresses and dancers as indicated that Ranco Arishekola, Ayox was once involved in settling a Arishekola husband (Arishekola 2012). regarded her as their it was her turn to sleep with their each of whom claimed of these women, quarrel between two - and the woman threat to her room, banned the troublesome one from coming Ranco “master.” claimed she was the true wife of Ranco Ajayi, Monisola Ranco’s friend, ened to commit suicide. Ajayi 2012). (M. while the other women were just her concubines her time. during no other women actor-managers She performed the lead male roles in her productions like other male theatre leaders. Part of Part leaders. like other male theatre in her productions the lead male roles She performed about her gender and people were curious was because she attracted large audiences the reason see her for themselves. wanted to operated in male-dominated professions. She enjoyed every moment of proving “what a man She enjoyed every moment of proving operated in male-dominated professions. so of Gongo a slogan displayed on the poster for her production can do a woman can also do,” Affair). (A Wondrous War Ranco’s Opening Glee and the Civil her the same year that Ranco transformed in 1967, The Nigerian/Biafran civil war broke out Three stanzas of her opening glee from that time theatre company into a professional troupe. Adebisi Ogunde recalled the lyrics: commented on the war. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on23 September 2021

60 Ngozi Udengwu that whatamancandowoman canalsodo. Sheplayedthetriplecongadrums, intendingto looked femalewhensheworetypicalwomen’sclothes. onstage andoff. Shegenerallyworeshortsandasinglet, andbecauseshewasflat-chested, only woman. This self-affirmationwasverycrucialbecause Rancoalwaysdressedinmen’sclothing, en’s clothes. Shedidthisfortwomainreasons. First, shedidthistoreinforcethatwasa rectangular clothwrappedasaskirt, andheadscarf. This wastheonlytimeRancoworewom- female dressknownasbubaandIro, atraditional Yoruba women’soutfitmadeupofablouse, a It wasatrumpcardthatensuredtheaudiencewouldcomeagain. other theatregroups, nospectatorwouldleaveRanco’s showuntilthey’dheardtheclosingglee. Her troupememberstoldmethatherdrummingwassopopular that, unlikeatproductionsby the drumsforhimfourmonthsandthenwasconfirmed a masterdrummer(Ogunde2012). ing asaleaddrummerin1967. Ogunde(a.k.a. BabaGbodomi)informedmethatRancoplayed drums andhowtoplaythem, thentestedhernewskillwiththe Adebisi Ogunde Theatre, join- at thebeginningofhertheatrecareer. Shehadsoughtoutanolddrummakertolearnabout conga drums. According toGboyega Ajayi shewasamasterdrummer, havinglearnedtheart of asongthatunderlinedthemoralsdramajustperformed, Rancoplayedthetriple The closinggleeinRanco’stheatrewasdifferentfromthatofothertravelingtheatres. Instead Closing Glee opening glee, thiswasoneoftheeventsthatmostexcitedheraudience. Wrestling scenesalsoregularlyfeaturedinthestoriesforherperformances. As partofthe down, drawingapplausefromtheaudience. The applauseattractedmorepeopletocome. to PrinceObaleye(2012), shesometimestookonasmanyfourmenandthrewthemall challenged themeninaudiencetowrestlewithher, whichtheyreadilyaccepted. According the theatre, herpassionforthesportpersisted. Ondayswhenaudienceturnoutwaslow, she thrilled Ranco’saudiencewaswrestling. Although shehadstoppedwrestlingwhenstarted “Igboland” indicatesherfeelingstowardthepeopleofEasternNigeria. 14. East, inIgboland” (1984:159). view withBiodunJeyifo, shedeclares, “The onlypartofthecountrywehavenottouredis audiences. Evenafterthewarshedidnotperforminthatpartofcountry. Inaninter ular artist, shefelttheheartbeatofheraudienceandspokemindlargelyanti-Biafran tors (Biafranrebelsandtheirsupporters)thatplanstodivideNigeriawouldfail. As apop- end thewar. Sheadvocatedforapeaceful, unitedNigeria, andwarned “traitors” andconspira- the federalsideduringthatwar, andNigeriansinthediasporawhowereactingasmediatorsto regard tothewarisclearfromhersong:shepraisedMajorGeneral Yakubu Gowon, wholed Ojukwu, attemptedtosecedefromtherestofcountryformBiafra. Ranco’smessagein The secondmainreasonshedressed asawomanwhensheplayedthedrumswastoprove For Ranco’sclosingglee, aftertheplayended, Ranco wentbackstageandchangedintoa Apart fromthesinging, dancing, andacrobatics, anotheropeningentertainmentpiecethat The civilwarbrokeoutwhentheIgbosinEasternNigeria, ledbyGeneralOdimegwu It iscompulsory. To keepNigeriaoneisataskthatmustbedone, To keepNigeriaoneisataskthatmustbedone, It iscompulsory, It iscompulsoryforNigeriatoliveinpeace. It iscompulsory, itiscompulsory ) (Chorus view with Ranco.view It is the only print source material on Ranco and her work. The appendix section of The Yoruba Popular Travelling Theatre of Nigeria by Biodun Jeyifo includes his 1980 inter- 14 Unfortunately, Jeyifodidnotaskherwhy, butherreferenceto - Funmilayo Ranco 61 15 Show me your ankles, bastard trouser, Show me your ankles, bastard heels, Show me your trouser, ), (repeat No pally in the jungle I’ll show off to you, If you show off to me, ), (repeat No pally in the jungle Show me your bottom bottom to your the way you turn your husband at night, me. turn your bottom to poster. “No pally for jungle” means there is no friendship in in friendship no is there means jungle” for pally “No so poster. Gongo 16 it is survival of the fittest. Prince Ola Obaleye explained to me in an interview that the words were interview an in me were to explained Obaleye Ola words the that Prince survivalis it fittest. the of —

This lyric is a mockery. There was a type of trousers that was in vogue in the 1970s called “bongo trousers,” trousers,” “bongo called 1970s the vogue in in was that trousers of a type was There mockery. a is lyric This legs. ugly their hide to it used who people on is joke The completely. ankle the hiding long, and wide usually the in them wearing be seen can Ranco jungle the tough the drumming captured They glee. closing the at Ranco’s of sound the from members troupe her by coined time. artiststhat at worked theatre which in conditions - ver handwritten a given was I (1984:165). book Jeyifo’s Biodun in found be can poster this of version typed A crudely years, with these laminated all poster the kept She here. transcribed is which mother, Ranco’s by sion room. sitting her of wall the against leaning stand, plank a on framed and sellotape Ranco also included wrestling in her closing glee. She invited men from the audience to She invited men from the audience glee. Ranco also included wrestling in her closing To properly locate Ranco in the field of Nigerian traveling theatres, I have divided the I have divided the traveling theatres, properly locate Ranco in the field of Nigerian To Have you watched or heard about the talented Lady? A wonderful Lady “actor.” A Boxer “actor.” A wonderful Lady Lady? Have you watched or heard about the talented with a man! Make a date with Lady Can a woman compete A Lady in all. Wrestler. and can a woman “what a man can do, She will prove the popular saying Funmilayo Ranco. to come early Seeing is believing, It is a great opportunity to watch her in action. do.” avoid rushing. Show me your kokose omo ale trouser, Show me your kokose omo ale kokose, Show me your trouser ), repeat No pally for Jungle ( maa sako si e, Boo ba sako simi, ), repeat No pally for jungle ( O daa kodi simi, kodi simi. Bo nse kodi soko re loru, wrestle with her and see if they could throw her down. She would take on two or four men at She would take on two or her down. wrestle with her and see if they could throw leaving her audience cheering and screaming in amazement. once and throw them all down, than preaching a moral lesson from the play as Her closing glee was more about entertainment in the closing glees of other troupes. 15. 16. troupes into three categories, which are primarily geographically determined. The most popular The which are primarily geographically determined. troupes into three categories, the center of as now, considered then, and highly regarded companies were based in Lagos, These represent Oshogbo. and finally, in Ibadan, Next come the troupes artistic excellence. Promoting herself this way drew attention to Ranco’s position as the only woman in a male- Promoting herself this way drew attention Yoruba was a force to reckon with in the professional Although Ranco dominated business. was ever given a neither she nor her theatre company traveling theatre and popular in her time, popular or academic. serious review in the press, Feminist Issues in Ranco’s Theatre Issues in Ranco’s Feminist feminist in Nigeria during the period Funmilayo Ranco was the only known self-proclaimed It was rare for a woman to openly proclaim herself a femi- she was active as an actor-manager. so she wrote, On the poster for her Gongo nist. - woman to be a drum It was rare for a through her drumming. familiar parables communicate she When she was done, her audience. playing mesmerized and her dexterous time, mer at that - she said through drum what they thought to put into words asking them audience, quizzed the which she would to say something, any one from the audience she would invite Then ming. - she said in her drum troupe members report Part of what her through the drums. then repeat was: Regard), Obaleye (a.k.a. recalled by Prince Ola as ming, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on23 September 2021

62 Ngozi Udengwu and popularherworkdemandsattentioninNigerianperformancestudies. hitherto staticperformancestructureintoadynamicmedium. For20yearsshewasinnovative could accomplishanygoalandhadonlyherownstandardstoliveupto. Shetransformeda paid homagetocertaindeities, Rancochallengedgenderstereotypes. Sheprovedthatawoman ferent purposesthanitdidinmen’stheatre. While themenmadepledgestotheirmentorsand tion oftheperformancegender. The openinggleeinFunmilayoRanco’stheatreserveddif- they havebeenneglected, butbecausetheyofferanewplatformforthestudyandinterroga- death. The openingandclosinggleefromRanco’sshowshavebeenmyfocusnotjustbecause she deserved. Hertheatreisnowcomingintothespotlightmorethanthreedecadesafterher ing theatretroupesinNigeriaduringhertime, Rancohasnotreceivedthescholarlyattention reotypes inherlifeandwork. mock yourdetractors;turnstumblingblocksintosteppingstones. Rancochallengedgenderste- her” (2011). Sheintendedtobeanexampleforwomen. Don’tgiveintobullying, butrather take careofmyself.” Inaninterview, Remi Adedokun saidofRancothat “nothing embarrassed with beingresentfulofbulliestryingtointimidateme. Iwillnottakeit. Iamstrongenoughto object tosuchaname intimidation. Moreover, althoughrancorconnotesnegativebehavior means “rancor.” Sheearnedthisnicknamefromherschoolmatesbecauseshenevergaveinto Ranco plannedtoperforminIbadanandLagos, butdiedbeforeshecouldachievethisgoal. group thatperformedinOshogbo. Bignamesinthetravelingtheatrecametheretoperform. different levelsofpopularityandsophisticationintheNigeriantheatre. Rancobelongedtothe Obaleye, Ola. 2012. Personalinterviewwithauthor. Ibadan, 23February. Kerr, David. 1995. AfricanPopular Theatre: From Pre-colonial Times tothePresent Day. Oxford:JamesCurry. Jeyifo, Biodun. 1984. TheYorubaPopular TravellingNigeria. Lagos:NigeriaMagazinePublication.of Theatre Clark, Ebun. 1979. HubertOgunde: The MakingofNigerian Theatre. London:OxfordUniversityPress. Boscolo, Cristina. 2009. Odún:Discourses, Strategies, andPower inthe Yoruba Play of Transformation . Barber, Karin. 2000. TheGeneration ofPlays: Yoruba Popular Lifein Theatre. Bloomington:Indiana Arishekola, Ayox. 2012. Personalinterviewwithauthor. Iwo, 21February. Amankulor, NdukakuJ. 1993. “English-Language Dramaand Theatre.” of InAHistory Twentieth-Century Ajayi, Monisola. 2012. Personalinterviewwithauthor. Ilesa, 23March. Ajayi, Gboyega. 2012. Personalinterviewwithauthor. Ife, 20March. Agbeke, Ayoola Maria. 2012. Personalinterviewwithauthor. Ibadan, 25February. Adelugba, Dapo, andOluObafemi. 2004. “Anglophone West Africa,in Africa, Nigeria.”of Theatre InHistory Adedokun, Remi. 2011. Personalinterviewwithauthor. Ibadan, 25 August. Adedeji, Joel A., andHyginusEkwuazi. 1998. Nigerian Theatre: DynamicsofaMovement. Ibadan:Caltop Adedeji, Joel A. 1973. “Trends intheContentandFormofOpeningGlee Yoruba Drama.” Research in References As theonlyfemaletheatreleaderamongabout200malesleadingprofessionaltravel- Ranco’s stagenamewasindicativeofhersocialbeing Dept. ofCulture, FederalMinistry ofSocialDevelopment, Youth, SportsandCulture. Amsterdam: EditionsRodopi. University Press. African Literatures, ed. OyekanOwomoyela, 138–72. Nebraska:University ofNebraskaPress. ed. MartinBanham, 138–58. Cambridge:CambridgeUniversityPress. Publications Limited. African Literatures 4, 1:32– — Ranco tookitproudly. Sheseemedtosay, “Yes, thereisnothingwrong 47. — as interpretedbyherpeers. “Ranco” — and otherpeoplewould Funmilayo Ranco 63 –2/. –67. 21, 2:54 the Humanities 21, of Nsukka Journal

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for.” for.” Theatre.” Travelling Ogunde, Adebisi. 2012. Personal interview with author. Ibadan, 1 May. 1 May. Ibadan, author. interview with Personal 2012. Adebisi. Ogunde, 22 January. Ibadan, with author. Personal interview 2012. Bola. Olorunyomi, war we live A deadly post election violence: Ajasin/Omoboriowo history: in “Today 2017. . Sunshine Herald Popular Yoruba on the Studies: Perspective Theatre the Gap in Nigerian “Bridging 2014. Ngozi. Udengwu, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00816 by guest on 23 September 2021