Arts & DesignLiterary

Lekan Balogun: Nigerian universities need a cultural shift

 

Lekan Balogun, a playwright, theatre director and lecturer at the School of Performance and Cultural Industries, University of Leeds, United Kingdom, spoke with Sogo Faloye and Remi Adegbite on the Leeds cultural exchange programme, on Nigeria’s academia, the creative industry and the country.  

 

Let’s start with an introduction. Tell us about yourself, your background, and what you do.

My name is Lekan Balogun. I was born in Lagos and grew up mostly in this part of Lagos, back when it was still largely swamps. My childhood was spent around Casino and Ogunde’s house because I was born in Iwaya, very close by. The whole area of Alagomeji and Ebute Metta were like playgrounds for us. I was born in the early 70s and went to school here. Later, I studied English and Social Studies at the Federal College of Education, Abeokuta, popularly called Osiele.

After that, I returned to Lagos and joined the Centre for Cultural Studies as an associate member. This centre later became what is now known as the Department of Creative Arts at the University of Lagos. There, I worked with giants in the Nigerian theatre like Segun Adefila, and Osagie. I earned my first degree and master’s from that department before going to Victoria University of Wellington in New Zealand on a government-funded PhD program. I returned to the department to teach for six years, during which time I also held fellowships at the National University of Ireland in Galway and the University of Cape Town in South Africa.

 

Later, I received the Alexander von Humboldt Foundation’s George Foster Experienced Researcher Fellowship, which took me to the University of Cologne in Germany. Before that, I had won a fellowship from the Advanced Academy of African Studies. Today, I am a lecturer in new writing and intercultural performance at the School of Performance and Cultural Industries, University of Leeds, United Kingdom.

 

Professionally, I’ve been involved in performance as a writer, actor, director, producer, and stage manager for about 30 years. I’ve written plays, some of which have won awards and commissions. I’ve worked with the British Council and was part of the new writing project of the Royal Court Theatre, funded by Arts Council England. My career has been a blend of academia and practice.

 

What inspired you to become a playwright?

Leeds scholar, Lekan Balogun and Actor-Director, Segun Adefila

The first playwright who inspired me was Ola Rotimi. I read “The Gods Are Not to Blame” sometime in 1986 when I was about 13. I was intrigued by it, and then I read “Kurunmi,” which left a lasting impression on me. Later, I was introduced to Wole Soyinka. Initially, I found his work challenging, starting with “The Lion and the Jewel” and “Death and the King’s Horseman.” However, I discovered a deep Yoruba essence in their writing, which resonated with me because of my upbringing in a Yoruba-speaking environment.

 

When I began writing, I imitated Rotimi and Soyinka. Over time, I developed my own style, but their influence is still evident. I sometimes feel like a co-author of their works because of how deeply I understand and re-imagine them in my own writing.

 

One might call you an internationalist, given your experiences with both Eurocentric and African traditions. Can you elaborate on that?

 

Absolutely, after discovering Shakespeare, I noticed similarities between his writing and Soyinka’s. Both writers, despite their different languages and eras, share a subtlety in their storytelling. This realisation led me to experiment with what I call the Theory of Contradiction. I wrote a play titled “Soyinka in the Eye of Shakespeare,” combining ideas from both writers. I’ve written three more such experimental plays since then.

Encountering Eurocentric ideologies and academia helped me see the intersections with Afrocentric perspectives. Rather than viewing them as separate, I’ve tried to blend these philosophies to create new narratives.

 

Tell us about the Leeds program that brought you to Nigeria.

The Leeds program is part of the School of Performance and Cultural Industries’ effort to integrate international experiences. They saw value in my background as a performer and academic. The project involves working with Segun Adefila, a performance artist and a one-time associate from the Center for Cultural Studies, University of Lagos, to bring Nigerian experiences to the UK and collaborate with vibrant students at Leeds.

This initiative is part of the University of Leeds’ international strategy to connect the creative economy with academia. The goal is to create a global relationship that advances knowledge through both written and performed works. We have begun touring and engaging students and scholars at different Nigerian universities; the first stop is my Alma Mata, Federal College of Education, Abeokuta. 

 

How will this program help improve human capital development in Nigeria?

  • A scene from one of Balogun’s plays

This program is a crucial part of Leeds’ international strategy. Leeds is a leading global university with substantial funding to bring international creatives and academics together. This collaboration allows people who excel outside academia, like journalists and poets, to contribute to and benefit from academic advancements.

For instance, an international scholar in intercultural performance visited before me, contributing significantly to the field despite not being a performer. This aligns academia with creative industries, bridging the gap between the two and fostering mutual growth.

 

There seem to be a transition from playwriting to film in the country. With the popularity and rise in support for the film industry in Nigeria, do you think it affects theatre negatively?

On the contrary, I think it’s beneficial. Many scripts for films are now written by people who started with stage writing. This opens new opportunities for them. While economic and security issues previously hindered cinema and stage attendance, there’s been resurgence in interest over the past decade. The advent of platforms like Netflix has boosted the industry further.

Our writers and creatives are being forced to re-imagine their craft, incorporating diverse influences. For example, the film “Jagun Jagun” blends elements from “The Woman King,” “Spartacus,” “Game of Thrones,” and traditional Nigerian Alarinjo theatre. This enriches the narratives and raises the quality of our productions.

While we haven’t fully arrived, we’re moving in the right direction. The home video era disrupted traditional theatre practices, but the Nigerian creative industry is learning from that period and improving. There’s still work to be done in areas like scripting, acting, and subtitling, but overall, the transition to film is advancing our creative arts.

 

As an academic with experience in both the creative and academic fields, how has this dual perspective shaped your approach to teaching and understanding the arts?

I started as a creative, so I have gone through both processes. I’m not just an academic; I’m an academic-creative. This dual identity allows me to function more effectively in academia, especially in theatre and performance departments. The way I handle courses is different because I’ve mastered the skills required as a creative. For example, when I was a lecturer in the Department of Creative Arts at the University of Lagos, my approach to teaching performance and directing was hands-on and immersive. Students who worked with me often said that being in one production with Dr. Balogun was like taking a two-semester course. This practical experience is something that is often missing in the film industry, where experts should explain why certain techniques are used.

 

Can you provide a comparative analysis of your experiences in both academic worlds and suggest ways to improve academic life?

It would be a disservice to simply suggest improvements because the system in Nigeria is very rigid. For instance, I proposed that many of the courses offered over four years at the university of Lagos could be condensed into three. General courses could be taken in the first year, followed by specialisation in the second and third years. For example, instead of spreading playwriting courses over several semesters, they could be combined and focused on earlier. This way, students could write and produce plays by their final year. However, these suggestions often face resistance because the system is inflexible and hesitant to change.

Some critics say that universities are stuck with old playwrights and fail to embrace new voices. Do you agree?

Yes, they are. I recall an experience in 2003 when young playwrights and established figures like Soyinka gathered, and the focus was solely on Soyinka’s work. I stood up and argued that my sensibility as a playwright is different. For example, I remember being told that Soyinka criticised Ola Rotimi’s plays, limiting the number that survived. The university system often discourages initiative. For instance, when I wanted students to produce their own plays for their final projects at the University of Lagos, the faculty resisted because they preferred to promote their own outdated works.

 

How do you think the role of critics impacts creative work in Nigeria?

Criticism is necessary and helps improve work, but it must be constructive. I’m currently editing an anthology of Shakespeare adaptations written by my students. Although their work isn’t perfect, I’m helping them polish it because it needs to be out there. Historical figures like Shakespeare had their works refined by others, and we should do the same. However, the university system in Nigeria often stifles such initiatives. Policies are rarely revisited, and there’s a lack of support for new voices and ideas. This stifling environment contrasts sharply with more dynamic systems like those in the UK, where mechanisms are in place to evaluate and improve based on outcomes.

 

Given your extensive experience, what do you think are the most pressing issues that need to be addressed in Nigerian academia?

The most pressing issues are the rigidity of the system and the resistance to change. For example, curriculum changes often protect the interests of those in charge rather than improving education. There’s also a lack of integration between different courses, leading to redundancy and inefficiency. Practical experience and creative freedom are often stifled. There’s a need for a more flexible, dynamic approach that encourages initiative and embraces new voices. The academic system should regularly evaluate and revise policies to ensure they are effective and serve the needs of students and the broader community.

 

You’ve mentioned a few specific examples of how the system could be improved. Can you elaborate on any other ideas or initiatives that could help transform Nigerian academia?

One idea is to merge related courses and focus on practical, hands-on experiences from the beginning. For instance, students could start working on their specializations earlier, allowing them to produce significant projects by their final year. Another initiative could be the inclusion of contemporary works and voices in the curriculum, encouraging students to engage with and critique new ideas. Additionally, providing more support and resources for students to develop their own projects would foster creativity and innovation. Regularly revisiting and revising the curriculum based on feedback and outcomes is crucial for keeping the system dynamic and responsive to changing needs.

How can these changes be implemented given the current resistance within the system?

Implementation requires a cultural shift within the academic community. There needs to be a recognition that change is necessary for growth and improvement. This could start with pilot programs or small-scale initiatives that demonstrate the effectiveness of these new approaches. Engaging with stakeholders, including students, faculty, and industry professionals, can also help build consensus and support for change. Leadership within universities must champion these initiatives and create an environment that encourages experimentation and innovation. It’s a gradual process, but with persistence and a clear vision, significant improvements can be made.

You’ve worked in Leeds and Nigeria. As an African in the Diaspora who often returns home, do you think Nigeria is on the right path?

No, Nigeria is not on the right path. The country is running towards collapse. Patriotism means being realistic and telling ourselves the truth. For example, the murder of Mohbad is emblematic of the lack of justice and accountability. The government covers up crimes, and this lack of truth is fundamentally destructive. The economic policies, such as removing subsidies without adequate provision for the poor, are harmful. The emphasis on religious practices over practical development is also problematic. In the West, systems are revisited and revised regularly based on results. In Nigeria, the system is stuck, and policies often serve those in power rather than the public.

The UK seems fond of reversing certain policies that affect migrants. Recently, it reversed a policy that affected admissions to the UK. They reversed that policy so that students from Africa and other part of the world will come, having seen that there seems to be some loss in revenues. Why is the Uk doing that all the time?

What does that even tell you about that kind of system? That they are thinking. If we’d have these laws and we think it is going to work for example, then we embark on it for two or three years, and when we realise it is no longer working, we reverse it. That is self reflection, why are Nigerian leaders not doing that.

The British are human beings, they ate not spirits, so if you try something and it doesn’t work, you should revert to status quo. Why feel ashamed? But in our own case, we just continue to go on as if nothing has happened so long it benefits a small clique. Have you noticed that most of the developments we have, most of the things that were done well were either done during the colonial or during the military era. So, what is happening to democracy? Do you think it is working? Is it the kind of democracy that we are running? 

-Sogo Faloye is Publisher, Baron’s Cafe, a book publishing imprint in Nigeria of Fairchild Media while Remi Adegbite is an interdisciplinary artist and curator of the Iwaya Community Art Festival

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