Political Vision and Creativity in Selected Plays of Contemporary Nigerian Dramatists

Abstract

This article is a political reading of selected Nigerian plays, namely, Effiong Johnson’s The Fight Has Just Begun (1985),  Chinyere Grace Okafor’s The Lion and the Iroko (1996), Emmy Ikanaba Unuja Idegu’s Beloved Odolu Kingdom (2013)  and Osedebamen Oamen’s Leadership Scale (2016). The critical effort here links the playwrights’ creative imaginations  to the reality of their political environment – undoubtedly signifying Nigeria. It is observed that, probably because of the  overwhelming power of their political visions obviously inspired by the political realities of their environment, artistic  form is sacrificed at the altar of message in the texts. However, the clarity and relevance of the message of these  playwrights’ works under study exculpate them. The paper affirms, amongst others, that the socio-economic and  political conditions of Nigeria depicted in the play texts demand a propagandist art with an urgent message that could  mentally liberate and stimulate the revolutionary consciousness in the docile and complacent masses. It concludes that  such art, strong in message and regardless of an unimpressive form, cannot be undervalued, especially at this time  when narrative knowledge is urgently needed as a third army to dislodge reactionary forces notable for misuse of power  supposedly held in trust for the people.