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.
. . . as far as the regime is concerned, well, the play is sheer terror for them. Because they feel, How dare – how dare anybody lift his or her voice in criticism against us? We have the guns. Their level of paranoia and power-drunkenness is unbelievable.
My definition of slavery is the deprivation of human volition, any form of relationship between two peoples which is based on the deprivation of volition of one side.
I began writing early – very, very early… I was already writing short stories for the radio and selling poems to poetry and art festivals; I was involved in school plays; I wrote essays, so there was no definite moment when I said, ‘Now I’m a writer.’ I’ve always been a writer.
I think that feeling that if one believed absolutely in any cause, then one must have the confidence, the self-certainty, to go through with that particular course of action.
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.
The media must be used effectively to reach the masses. You have to find a new language in which to address the people and demonstrate what is possible.
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.
