Biography of Chief (Dr.) Hubert Adedeji Ogunde- The Doyen
of African Theatre
By: Adedara Oduguwa
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
whole. To many, he was the doyen of African theatre, father of Yoruba operatic
theatre, a resounding pioneer of the Nigerian drama. Very often 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, 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 disciplinarian, whose father and forebears were
Ifa worshippers and founders of Ososa town. While Madam Eunice Ogunde was a
trader whose parents were also enthusiast 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 in later 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 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 ages 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 launched him becoming the
greatest Nigerian folklorist of all time.
OGUNDE: A POLICE OFFICER
After about eight meritorious years
in the teaching profession, it was during an holiday in Ibadan that he joined
the Nigeria Police Force in December, 1941, a bid to better serve his
motherland. 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-boggling. 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 set to establish 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 Late Dr. Nnamdi Azikiwe Chaired the Show.
However, 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 shoots Ogunde into national prominence.
BIRTH OF OGUNDE’S DRAMA
Monday, June 12, 1944, was a special
day in the life of young Ogunde. He was supported and sponsored by Church of
the Lord, Ebute-Meta to produce his first and oldest opera ‘The Garden of
Eden and The Throne of God’ at the Glover Memorial Hall, Lagos. 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.’
In 1945, the success recorded in ‘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 newly 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 border
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 will later become Mrs. Ogunde (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 1947, Ogunde was admitted
into Buddy Bradley School of Dancing at the Piccadilly Circus, London. This is
the root of his much talk 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 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 programme 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) in 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 posting posters for the play
without prior permission from the government. Moreover, towards the end of
1950, ‘Ogunde Theatre Party’ was changed to ‘Ogunde Concept Party.’
In 1951, Ogunde marked the seventh
year 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 in 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 loggerhead 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 majority of his audience were in the
Yoruba speaking Western Region.
Ironically, Yoruba Ronu was a
prophesy of days to come. And by January 15, 1966, the prophesy came to past
and Akintola’s government was not only ousted out of power, but many had paid
with their lives. The military had taken over 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.
In 1967, Ogunde Theatre has 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 US 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 45 member dance troupe abroad and perform
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
sixty 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
presently boasts of membership in there hundreds and professional travailing
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 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 per 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
practices for his cast for at least nine months to one year. His play
rehearsals was twice a day starts from 8am to 2pm and 4pm to 9pm, Monday to
Saturday. So rigorous and tough. 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 47years 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 joys of family life and of seeing his
children grow up under his watch. Ironically, Ogunde who during the last count
married some seventeen wives and numerous children never allowed separate pots
for his children, this helps to fasten the rope of unity among everyone in the
yard.
Mr. Ogunde after morning exercises
attends to morning routines and at leisure sits among his wives joking and playing
a bid 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 given full
supports 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 protect 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’
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
Alhaji Shehu Shagari, unbelievably; Ogunde rejected the honour arguing that
corruption is endemic in the land.
1987 and 88, 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 Nigerian 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
remains evergreen in the Nigerian Theatre. Ogunde also helped to advanced
dances like: 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 was Nigeria saviour of 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 Crowell Hospital, London. He was aged 74.
#nationalweekofremembrancefordepartedwriters 
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