AKINWANDE OLUWOLE SOYINKA, the legendary African author and activist, is proof of what words and acts can achieve in the struggle for justice and human rights. Soyinka, aged 90, embodies unrelenting activism and literary excellence.

The importance of Soyinka’s work lies in demonstrating the powerful role of the arts and artists in society. He has shown that literature and artistic expression can be formidable tools for challenging oppression, advocating for justice and inspiring social change.

From his early plays and poems to his recent essays and speeches, Soyinka has consistently addressed political corruption, social injustice and human rights abuses — often at great personal risk. His works galvanise readers and audiences to think critically and act courageously.

Soyinka’s approach was shaped by his upbringing and personal experiences. Growing up in colonial Nigeria, he was exposed to oppression and inequality from an early age. His education, which combined traditional African culture with Western literary influences, equipped him to express his vision of justice and freedom.

Political imprisonment and exile further fuelled his resolve to use his voice and pen as instruments of resistance.

This is evident in his outspoken criticism of various Nigerian governments. The Open Sore of a Continent (OUP, 1997), a work in which he condemned the military dictatorship of Sani Abacha, affirms this.

His founding of a political party in 2010, the Democratic Front for a People’s Federation, further shows his commitment to political activism.

As a lecturer in African literature, I teach and study Soyinka’s work and have come to appreciate him as an unswerving critic of tyranny. He is also a masterful storyteller.

Soyinka’s story takes us from a little child in Nigeria to a Nobel laureate and an international symbol of resistance.

Soyinka was born on July 13 1934 in Abeokuta, western Nigeria.

His father, an Anglican preacher and headmaster, exposed him to the colonial administration, and the conflict between native customs and enforced European standards.

His formal education began at St Peter’s Primary School, Abeokuta, and continued at Abeokuta Grammar School. He later attended Government College in Ibadan, western Nigeria. There, he excelled academically and was involved in various literary activities. His critical sense of identity and resistance to colonial rule began to take shape during these years.

In 1952, Soyinka entered University College Ibadan, where he studied English literature, Greek and Western history.

He was also exposed to the rich performance of African oral traditions, folktales and ceremonies while growing up. These elements eventually found their way into his creative works.

At Ibadan, he was influenced by his peer, JP Clark-Bekederemo. Clark-Bekederemo’s focus on cultural identity and colonialism inspired Soyinka to explore such themes in his writing.

Later, at the University of Leeds, he was mentored by notable scholars. Harold Hobson, a renowned British drama critic, guided Soyinka in understanding modern theatre. Gordon Lawrence helped him appreciate the technical aspects of theatre. Arnold Kettle, a Marxist literary critic, taught him about the intersection of literature and politics.

The pulsating theatre scene at Leeds gave him opportunities to experiment with different forms of drama. These helped him develop his unique voice as a playwright. The intellectual environment at Leeds included discussions on colonialism and social justice. All these experiences shaped his worldview, entrenching in him a commitment to challenging oppression.

Soyinka’s extensive collection of work offers a thorough analysis of Nigeria’s past and current conflicts. He strikes a deep chord with readers with his fusion of Western literary techniques with traditional Yoruba culture.

His works explore the socio-political underpinnings of Nigerian society, addressing issues like dictatorship, corruption and the pursuit of justice. The literature reflects the nation’s tumultuous history, from the colonial era to post-independence challenges.

Works such as the play A Dance of the Forests, prepared for Nigeria’s independence celebrations in 1960, are not merely artistic expressions but also commentaries on the nation’s socio-political realities.

He criticises the rush associated with independence, using a convoluted story involving gods, spirits and men. The cyclical nature of human foolishness and the enduring character of problems like the abuse of power and corruption attracted his attention. The play’s audacious thesis — that independence by itself does not ensure a decent society — makes it significant.

Soyinka pushes for modern reflection and change while stressing the value of cultural legacy. Works like Death and the King’s Horseman connect to the African experience, challenging colonialism and its continued impacts on Africa. Soyinka empowers Africans to reclaim their identities.

[[{"fid":"67382","view_mode":"inlineright","fields":{"format":"inlineright","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false},"link_text":null,"type":"media","field_deltas":{"1":{"format":"inlineright","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false}},"attributes":{"class":"media-element file-inlineright","data-delta":"1"}}]]He also explores the psychological and cultural consequences of colonial rule. In The Man Died: Prison Notes (Vintage, 1994), his autobiographical account of his imprisonment during Nigeria’s civil war, Soyinka not only documents personal hardship but also calls for universal human rights.

The book stresses the interconnectedness of African struggles and the need for collective resistance against injustice.

My first contact with Soyinka’s work was in secondary school, when we read his play The Lion and the Jewel. Some of my classmates then felt he was difficult to read and assimilate. I later found The Lion and the Jewel was actually one of the simplest titles.

His masterful storytelling and ability to unite complex themes into a compelling narrative left an indelible impression on me. In Death and the King’s Horseman, his depiction of the conflict between cultural authenticity and colonial arrogance resonated deeply. The play explored the profound impact of colonialism on indigenous practices and beliefs.

My favourite is The Man Died: Prison Notes, a compelling account of his struggles and resilience in the face of extreme adversity.

He vividly chronicles the harrowing conditions he endured and provides insight into the psychological and physical torment inflicted on those who dared to oppose the repressive Nigerian government.

His meticulous documentation not only records the immediate brutality of the regime but also reveals the broader, systemic issues that allow such oppression to persist.

This work profoundly influenced my understanding of the power of literature. Writers have a vital role in the struggle for social justice.

I think Soyinka’s influence is visible in certain Nigerian writers who came later like Femi Osofisan and Ahmed Yerima. Osofisan’s work has been described as “cries for personal freedom and political action.”

Abayomi Awelewa is lecturer in African and African diasporan literature at the University of Lagos.

This article is republished from TheConversation.com under a Creative Commons licence. 

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