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Orisa-Shakespeare: a Study of Shakespeare Adaptations Inspired by the Yoruba Tradition

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Orisa-Shakespeare: a Study of Shakespeare Adaptations Inspired by the Yoruba Tradition Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition By Olalekan Is’haq Balogun (PhD with creative component) A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Theatre Victoria University of Wellington (2017) Abstract This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship. 1 Acknowledgements Iba Olodumare----Olojo, Oyigiyigi, Atererekaye, ojiji-biri a ji p’ojo iku da! Iba Orisa----ile gbogbo nile orisa! Iba Eniyan----.aye to-o-to mo juba! ______________ Foremost, I acknowledge the generous financial support of the New Zealand government and the Victoria University of Wellington (VUW) through the Faculty of Graduate Research (FGR) for the Victoria Doctoral Scholarship that was awarded to me in 2012, including the Research Grant I received in 2014 and the Completion scholarship of 2016, which made it possible for me to conduct the PhD research in the university. At the Victoria University of Wellington, I was welcomed by a multi-talented staff of the Theatre programme who combines academic work and artistic ingenuity with rare sense of humanity and kindness. First, I acknowledge with utmost respect my supervisors: James Stuart McKinnon and Megan Evans, with whom I forged a relationship beyond mere supervision. While I will continue to cherish the memory of working with both of you (“learning from you” is actually the right expression), I will particularly mention Megan’s unusual openness and James’s “brotherly-support” ever since I arrived in Wellington. I also say my “Thank you” to Shannon Friday, for the warm hospitality I received while staying with you (and James) during the first month of my arrival in Wellington in the winter of 2013. My unalloyed gratitude to the Head of the School of English, Film, Theatre and Media Studies and distinguished award-winning international theatre director who also happened to be my University examiner, Associate Professor David O’Donnell; James Davenport for his knowing and encouraging words and smiles; the brilliant Shakespeare scholar and theatre director, Dr Lori Leigh; as well as Dr Nicola Hyland, Kerryn Palmer and Bronwyn Tweddle and the ever-reliable Cathy McCullagh. I thank Prof. Gbemi Adeoti of the Obafemi Awolowo University, Ile Ife, Nigeria and Dr. Mark 2 Houlahan of the University of Waikato, New Zealand; Prof Duro Oni; Prof Tunde Babawale (Chief Executive Officer), S.S. Bamikole and the entire staff of the Centre for Black and African Art and Civilization (CBAAC) for their many years of assistance. Concomitantly, I thank Dame Dawn Sanders (ONZM), the Chief Executive Officer, Shakespeare Globe Centre New Zealand (SGCNZ) and member, Shakespeare Globe Council, London; Brian Pearl and the entire members of the Shakespeare Society, New Zealand, for hosting me in May, 2016, at their monthly gathering where I presented a section of the thesis “Shakespeare in Africa” and excerpts from Emi, Caesar! In the same vein, I thank Brendan West, Kassie McLuskie and Morgan Hopkins, who acted in the excerpts and offered useful advice; my colleagues in the PhD programme, Dor Fadlon and Indranil Chakravarty; my friend and brother, Dr (Engr) Ramoni Adeogun and his family, my Sri-Lankan friend, Anas Sherifdeen and his wife, Fatima and importantly, my Iraqi friend, Tahir Nawaz, who did wonders! My gratitude flows like a river, endless on its path, to people who made my trip to New Zealand possible, even as they also strove to make my family comfortable at home in my absence. Still, I wonder why I am so blessed to know these people: Taiye Olaniyi, Dr Bosede Ademilua-Afolayan, Femi Olaiya, Nurudeen Alamu (Baba Lagbaji), Emmanuel Adetumbi (Obalola), and Wasiu Popoola. Olaniyi --- father, mentor, and confidant. I will forever remain grateful to you and your family, especially your wife, Mrs Kofoworade Olaniyi, and my brother and sisters: Tomiwa, Tejumade and Tolulope. I thank you for being “You”, one of the most distinguished individuals that I have ever met --- “Iyeru Okin, olofa mojo omo laare”-- -and perhaps will ever meet! Dr.Bosede Ademilua-Afolayan--- sister, friend, mother, and source of inspiration, all beyond a former lecturer. I have never met anyone so caring, so focused and so determined, even with a smile. This PhD was a DREAM... you were instrumental to its realization in many ways than you can think of! Femi Olaiya --- friendship akin to blood and flesh, soulmate, trusted ally. You broke the boundaries of friendship seeking instead something more glorious. “Thank you” is not enough!; Baba Lagbaji --- I will always be grateful....warafa nau makana aliyan!; Obalola --- great soul, intelligent being, compassionate, unique!; Wasiu (and Sherifat), your prayers are answered...in shaa Allah! 3 I will never forget you, Uncle Olu Adeniregun... “Thank you a million times”; Otunba Tunji Sotimirin (Shadow), a mentor and inspirer; and my childhood friend and first critic, Sola Martins Ikumelo, who led me straight to the Centre for Cultural Studies where the journey started. True friendship is sometimes found in the most unlikely places and among people that one least expected. Such is the case of Sesan Fasanu (Omo Yellow), Sumbo Saheed Bello, Kamar Adekunjo and Sola Adeyemi, who believe in me more than I ever believed in myself: “THIS IS IT...Thank you, my brothers for life!” I will not forget Seye Onatolu, Barney Obi-Abiezue and his family, Rotimi Agbebi Williams and my most committed younger friends (disciples): Habeeb Awoko Ayodeji, Aderemi Adegbite and Wale Lampejo. I thank you, Alagba Kehinde Salako and “Baba” Olatunji Iranloye, for your prayers and trust in my ability; and Dr Johnson Ademola Adewara, for your advice and brotherly love; Prof Danoye Oguntola-Laguda and Sina Ayodele of the Lagos State University, LASU, for the illuminating discussions we had on Yoruba rituals and the Orisa, as well as the useful comments you provided after reading a draft of my thesis. Similarly, I thank my informants: Chief Oluawo Akanni Sofolabo of Ijo Orunmila Adulawo, Somolu & the Reformed Ogboni Fraternity; O/I Canon Ifaniyi Babatunde Adetayo, the Apena Iledi Joel Ogunaike Adase & the Reformed Ogboni Fraternity; the distinguished thespian, Chief Priest Ademola Fabunmi of Ijo Orunmila Ato, Ebute Metta; and Babalawo Afolabi Ifasogbon (Afoo), the Chief Priest Otuku & Atuwara Heritage, Ota, respectively. I thank my mum, and brothers and sisters for their love and prayers. Last but by no means the least, I thank my wife, Ganiyat Oluwakemi Balogun (nee Adeyemo), the first true believer in my life, career, and self. I couldn’t have done this without you. Actually, this PhD is yours, not mine. Ire gbogbo, gbogbo ire! And to my lovely daughters: Queen Moremi Ololade (Moremscoco!); Princess Olamipo Abeebat (Ollykoko!); and Princess Kanyinsola Azeezat (Muyanmuyan!), who endured my years of travel and absence from home. I hope this PhD compensates for everything. THANK YOU! 4 Contents Abstract............................................................................................................... i Acknowledgements............................................................................................. ii Contents............................................................................................................... v List of Illustrations..............................................................................................
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