You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.
You cannot live a normal existence if you haven’t taken care of a problem that affects your life and affects the lives of others, values that you hold which in fact define your very existence.
I don’t know any other way to live but to wake up everyday armed with my convictions, not yielding them to the threat of danger and to the power and force of people who might despise me.
But when you’re deprived of it for a lengthy period then you value human companionship. But you have to survive and so you devise all kinds of mental exercises and it’s amazing.
When you are looking for corruption, you should look at the entire stratum of the society, while some forms of corruption are direct, others are indirect.
I know there are writers who get up every morning and sit by their typewriter or word processor or pad of paper and wait to write. I don’t function that way. I go through a long period of gestation before I’m even ready to write.
I rarely use mythology for its own sake because, as a theatre person, the mythological figures are in fact humanity to the ninth degree and Yoruba mythology in particular has fascination of being one of the most humanised mythologies in the world.
