International Association of Libraries and Museums of the Performing Arts
Société Internationale des Bibliothèques et des Musées des Arts du Spectacle
Theatre and Theatre Collections in Nigeria: Problems and Prospects
Cecilia Folasade Adedeji
The Theatre and Theatre Collections / Le théâtre et les collections de documents
International
Association of Libraries and Museums of the Performing
Arts
16th International Congress, London, 9-13 September 1985
Proceedings of the Congress
Société Internationale
des Bibliothèques et des Musées des arts du spectacle
16ème Congres Internationale, Londres, 9-13 september
1985
Procès-Verbal
London 1986, pp. 35-41
The theatre in Nigeria has its origin in the cultural settings of the past and the vicissitudes of the present. The remarkable folklore of the past with its rites and pastimes created a climate and a veritable foundation for a variety of theatrical activities. The theatre tradition is therefore a part of the social and ritual life of the people embracing the totality of their way of life, habits, attitudes and propensities. Although looked at as a form of entertainment in the first instance, yet a theatrical show is regarded as an informal way by which the quality of life of the people can be inculcated and enriched.
Since Nigeria's independence in 1960, theatrical activities have become more organised and developed firstly by certain individuals and secondly by educational institutions, especially the universities. Individual theatre practioners have based their developments on traditional resources. The established travelling theatre companies as a family business in which wives and children play roles. The institutions have set up schools of drama for training theatre artists along the lines of Western tradition and use the English language as a medium of communication.
The travelling theatre companies perform in the Nigerian languages and provide the people at large with a variety of entertainments. Most of the successful practitioners are found in the Western part of the country where the traditions have been popularised by Hubert Ogunde, Moses Olaiya (Alawada) and a host of others.
For some curious reasons the importance of collection of materials and documentation was not considered in time. As a consequence, some valuable materials have been lost through neglect, ignorance of the value of preservation and the inevitable in roads of the elements. Any form of salvaging of the materials can be pursued to the homes of the practitioners, the production stores of broadcasting houses, various government departments, offices of State Arts' Councils and some educational institutions.
The problems of theatre collection in Nigeria have been traced to two main sources: lack of technique of ensuring permanence and institutional support and direction. Two types of collections have been identified: private and institutional.
1. Private Collections:
There are several theatre practitioners in Nigeria whose names have become synonymous with the development of the theatre on account of their professional success. Hubert Ogunde regarded as the father of modern Nigerian theatre established his theatre company as a business enterprise in 1946 and has continued to make a success of the enterprise. He was followed by Kola Ogunmola and Duro Ladipo in the late fifties and early sixties respectively. Both of them established successful theatre companies and toured parts of Europe and America. Kola Oguniaola died in 1973 and Duro Ladipo also died in 1978. Visits to their homes and families to retrieve documents and theatrical materials of their theatres have brought to light the sad story of neglect and loss. Apart from the memory recall of achievements and oral narratives of successful productions, materials and resources of their theatrical endeavours have not been preserved. Only Hubert Ogunde has attempted to have a collection.
Hubert Ogunde Collection:
Ogunde began his professional theatre career in 1946 with his native air "The Garden of Eden". Since then he has staged many operas and plays that by 1977 there were 57 altogether. He has maintained in his house a systematic collection of his manuscripts, programmes, posters, photographs, newspapers and costumes. Some of his plays and operas have their titles in English, but these now have Yoruba titles. In addition, there is a collection of newspaper clips, costumes and props of some of his outstanding productions over the years. Recently, Ogunde has gone into filming and has produced 'Aiye' in 1977, 'Jaiyesimi' and 'Aropin n'tenia' in 1983. A historical survey of Ogunde's theatre can be read from local newspapers such as the Daily Comet, Daily Service, West African Pilot, Daily Times, Tribune and Morning Post. Since these would provide reliable primary source material the period covered in these papers would only relate to the life span of the Ogunde's theatres and not necessarily the duration of the papers. For safe keeping and proper documentation i.e. classification, cataloguing, storage and disemination, an expert attempt should be made to preserve the Ogunde collections as a worth-while venture for posterity. There are some private individuals and institutions whose cooperation would be necessary in updating the collections. The governments should be approached to recognise the need for support. There is still a way by which some salvaging can be done to rescue the materials of the late Kola Ogunmola and Duro Ladipo. Through a directed campaign and advertisements private individuals and institutions with information, cuttings, records, pamphlets and remnants of materials can donate them to a trust or institutions set up for the purpose of preserving their memoirs as successful theatre practitioners. Private collections are exposed to the damages of pests, termites and cockroaches and the vandalism of the ignoramus. Apart from the in-roads of the elements and the harsh environments, the need for expert handling and the use of modern technology for preservation would be a matter too much for any individual to contemplate.
II. Institutional Collections:
Institutional interest in the development of the theatre in Nigeria is fortuitous rather than arising from a well thought out policy. As a result there is no directional effort, scheme or plan to contain and support the scope of such an important activity that would help to tell the story of the origin and growth of the theatre in the future. Sometimes attempts at collections can be traced to individual interests and unguided efforts. Even in this regard there are financial constraints which make such efforts feeble and to no great purpose. References can be made to universities and institutional libraries where such individuals have operated without sustained efforts. It is also known of some individual expatriates who have some fore-sights in theatre collections but have gone away with what they had collected for reasons best known to themselves. Other cases of pilfering can be traced to inadequate provision of security and lack of attention and recognition of the value of these collections by those in authority.
Media houses have peculiar problems. Apart from their complex problem of ad-hoc existence and lack of proper planning, recording of theatrical productions is seen as a run-of -the-mill affair. Not based on any concrete policy, the individual official is left to use his own discretion as to what to preserve and what to throw away. Financial constraint is sometimes used as an excuse but bureaucratic maneuvres have been found to be basis of neglect and loss.
The following are some of the institutions that we have visited
a) The Broadcasting Service of Oyo State:
This was formerly called Radio O-Y-0 and Television Service of Oyo State, here a library is maintained. The library stores the collection of recorded tapes of radio and television dramas. Most of the recordings are productions by local artists especially the travelling theatre companies. The tapes are mostly comedies and tragedies especially light comedies of 'Alawada' and 'Papalolo' type.
The library also has a collection of television cassettes and video tapes. The period when this collection began could not be ascertained since it is not possible to detect this from their records. The collection is subdivided into two areas namely Yoruba and English. Items are not catalogued as such, but information pasted in front of each cassette and video tape includes the following:
- Programme Title
- Episode
- Cassette Reference
- Duration
- Producer
- Shelf Number
- Bay Number
The Librarian has a limited control over acquisition since he relies largely on the producers. All items are accessioned. The collection is largely used by the staff of the corporation for their various television and radio programmes. Researchers are allowed to use the collection after they would have been properly introduced. Periodic information on any new acquisition is circulated to producers.
(b) Nigerian Television Authority (NTA) Ibadan:
This was the premier television house in Nigeria and has the 'nickname 'First in Africa'. It was established in 1959 and the library seemed to have grown with it. Materials in the collection of records, special programmes on festivals, drama, music and light entertainment.
Less important programmes are wiped off and tapes used for other recordings.
There is no special classification in use, but items are arranged under broad subject. For example D/T for Drama and Theatre and items are marked as such. Under each broad subject, items are further subdivided into comedies of 30 minutes and 60 minutes duration while the full length plays are arranged separately. As stated above, this collection is also used mainly by producers and other employees of NTA who may borrow films and cassettes for use in their offices or studios. Other users from outside the organization, for example researchers and theatre practitioners, can only use the collection for reference only.
(c) Federal Department of Culture, Cultural Preservation and Statistic Division:
The Federal Department of Culture is charged with formulating and implementing cultural policies. Secondly, it advises the Government on matters relating to Arts and Culture. It deals with all matters relating to various aspects of Nigerian cultural life, the theatre inclusive. The Department maintains and manages the National Arts Theatre which has become the centre for the performing arts in the country. It services the needs of theatre artists and promotes their creative endeavours through a programme of activities.
The Cultural Preservation and Statistics Division is charged with the responsibility of documenting and preserving all aspects of Nigerian cultural life. As much as possible it provides statistical data and other relevant information on Nigeria's cultural development. The division has 3 major units namely Research, the Library and Audio Visual Units.
(1) Research Units
This unit is constantly engaged in research on the various aspects of our cultural life. Recently, it has completed investigations on the following:
(a) Government vote on Arts and Culture for the period 1960-81.
(b) State expenditure on the same covering the same period as (a)
(c) A research is yet to be completed on the various agencies and institutions for Arts and Culture.
(d) It has completed research into and documented information on most of our traditional festivals.
(2) Audio Visual Unit
This section is responsible for recording all performances held in the National Theatre, cultural, dramatic presentations, exhibitions, musical shows, seminars and workshops. All such recordings are preserved by this unit and information about them disseminated to research institutions, artistes and other interested bodies. Most of these recordings began after 1977.
(3) Cultural Library
This is a relatively young unit, but it is hoped that in future it would be the nerve centre of preserving materials on the performing arts. In addition, it will serve as a repository for cultural materials issued by such international bodies as Unesco. As part of its activities the library claims to mount a series of displays on culture including theatre. It has a public enlightenment unit to educate users on how to make effective use of the collection. At present the collection consists of only books and ephemeral materials used largely by staff of the Federal Department of Culture, researchers, people from the media and State Councils for Arts and Culture. It opens from 8.00 a.m. - 3.30 p.m. The present accommodation is too small if the library is to expand and function effectively.
In addition to the 3 units mentioned above, there is also a costume collection. This is under the Performing Arts Division for administrative convenience. This collection consists not only of theatrical costumes but ethnic costumes depicting the cultures of certain areas of Nigeria.
These various collections under the suspices of the Federal Department of Culture are not well known. As the collections are of intrinsic research value, it would be ideal for catalogues of such to be produced and information on them disseminated widely.
(4) To provide guides, catalogues and bibliographies to facilitate the use of the collection.
(5) To organise exhibitions and displays
The centre is to make appropriate arrangement for exchange, either by lending or by gifts, items held by it.
Although it is supposed to be an archival centre, yet it is an integrated documentation centre. The bulk of the museum materials are architectural and carvings most of which are on display. Also there is a range of materials on theatre, music, dance and other aspects of the films and records. Another valuable collection is the seminar and colloquium papers on the various aspects of black and negro theatre arts. In order to maintain a comprehensive and up-to-date collection there is an agreement whereby the participating countries promised to send new additions to the centre.
CBAAC is divided into various components. The most important of which are, the Archives, Audio Visuals, the Library and the Museum Section.
1) Archives Division:
This is the core collection, it includes:
(a) the literature of world festivals of Negro arts;
(b) records of the International and National Secretariat of Festac '77;
(c) Colloquim papers on various aspects of Black and Negro arts, as well as plays in their originals and duplicate copies in English and French.
(d) Centre for Black and African Arts and Civilisation (CBAAC):
This centre was established in 1979 by a decree. It is a multi-dimensional documentation centre and serves as the custodian of cultural materials that were deposited there by the 59 Governments that participated in the 2nd World Black and African Festival of Arts and Culture (FESTAC '77). As a multi-disciplinary institution the centre is to promote public interest in Black and African Arts and Civilization. The most important objective of the centre is:
"To preserve for posterity the creative works of value of the individual countries that participated in the Festac '77 or anything pertaining to that festival which may appear".
In pursuance of this noble and all-embracing objective of acquisition, preservation and promotion, the centre has mapped out the following function:
- To locate, identify and assemble for better preservation of all recorded materials and other artifacts relating to Festac '77.
- To promote understanding in, and appreciation of Black and African Arts and Civilization by organising lectures, discussions, performances, demonstrations etc.
- To acquire from zonal secretariats other works relating to the culture of Black and African Arts.
(2) Library Section
The initial collection was selected from the national and international book exhibitions held during Festac '77. Annual additions are made by purchase and further donations from other countries and the books are classified using the Library of Congress Classification Scheme. This collection is not very large and the theatre collection is very small.
(3) Audio Visual Section
This collection consists of Festac audio-tapes, video cassettes, promotional films, films on Nigerian cultural festivals and records. Video cassettes of Nigeria's contribution to Festac '77 in this collection include:
Langbodo by Wale Ogunyemi, Oba Koso by Duro Ladipo and Children of Paradise created for Festac by Demas Nwoko. There are a few local plays like Zebudiah: Alias 430. Special films in the collections include The Black Heritage and Light on a Dark Continent. The collection without exaggeration seems to be the richest on Black and African people.
The audio visual collection is arranged by country. There are viewing equipments, a preview theatre and Television Circuit System.
Users are drawn from University students, artists, researchers and the general public. Anybody above 16 years of age is allowed access to the centre, but materials can only be consulted for reference. Occasionally, special items may be released to organisations with the permission of the Director of CBAAC.
(d) University Collections
Some universities within the country have theatre and dramatic arts departments The differences in the names by which each department is called depends on the principles and ideas of those who championed their establishment. Universities of Benin, Calabar, Ibadan and Jos have Department of Theatre Arts while Ife has a Department of Dramatic Arts. Each university has a central library which houses books, journals and sometimes micro-films on their various disciplines. The universities under reference would automatically have their sections on theatre and related subjects.
But at the University of Ibadan, in addition to the main collection in the University Library we have faculty and departmental libraries. The Department of Theatre Arts in Ibadan has a library. The collection here consists of books, journals and a number of students' long essays, dissertations and theses on various aspects of theatre in Nigeria. The library is heavily used by the students and outsiders for reference and general reading.
Another special collection in this department is the Costumes Collection. The collection is in the Arts Theatre. It dates back to the late fifties and reflects the various productions that have been staged in the Arts Theatre. The collection varies from European, Oriental to traditional African costumes. There is also a collection of posters, hand bills and photographs of past productions.
In 1971 in order to mark the 25 years of the Yoruba Operatic Theatre as a business concern, Dr. J.A. Adedeji organised an "Exhibition and a Forum" under the auspices of the Department of Theatre Arts and the University Library. The objective was to use the occasion to focus on the importance of theatre collections. Records of the exhibition are available in slides and some of the collections are in the University Library. In recent years the department has begun to film all departmental productions, but this project is in its infancy.
It is pertinent to note from the fore-going analysis that theatre collections in Nigeria have not yet been developed to any large extent. This is because not much importance is being given to the subject. A number of factors are responsible for this. The problems begin with the theatre practitioners themselves. They do not operate with a sense of history and attach too much importance to ad-hoc existence and make shift arrangements. Some would prefer to keep their materials rather than deposit them with the National Library or any institutional library where access to such will be restricted.
Secondly, there is the problem of lack of permanence among artists. The usual practice being that once a production has been staged and finished with, the costumes, props and other production materials are dumped as if they will never be used again. The stage may also be dismantled. There is need to make the artists realise and appreciate the importance of keeping for posterity.
Thirdly, there is lack of governmental or institutional support. There is a crying need for a monument which theatre practitioners can look up to as their own. Such an institution would be able to take the lead in the collection, preservation, documentation and dissemination of information on theatre materials and artifacts. The Department of Culture can take the lead in this matter. It would be fulfilling the desires and aspirations of the artists.
From my discussions with a few artists and theatre practitioners, I found out that manuscripts, costumes, sets, posters, programmes and other paraphernalia had not been systematically collected and preserved, to the extent that valuable materials have become food for termites. It is my belief that if there is a resource centre specifically geared towards the needs and interests of the performing artists, there will be cooperation from the artists to such an establishment.
Libraries and the various institutes of African Studies have not shown enough concern about collecting, recording and preserving theatrical materials. These institutes together with the departments of theatre arts in the universities should exert their own pressures on local artists, so that artists can realise the value of their worth for research.
In my previous paper (Performing Arts Resources 8, 6-9) I recommended the establishment of Museums of the Performing Arts (MPA) in the various African countries. The functions and status of the MPA were also enumerated. The MPA would take the initiative in the area of co-ordination of efforts after forging a policy on theatre collection, preservation and documentation.
There is still a need for the Government to establish the Library and Museum of the Performing Arts as it is the practice in other parts of the world. Theatrical activities in Nigeria are on the increase. Therefore, there is an urgent need to salvage the works of renowned and deceased theatre practitioners like Duro Ladipo, Kola Ogunmola, Ojo Ladipo and a host of living practitioners whose works must be gradually and systematically acquired so a's to maintain a comprehensive and representative collection for posterity. In the absence of a specific museum for this purpose, now, the National Library of Nigeria within its present operations can take the lead by acting on a proposal which has been submitted to it.
References
- Adedeji, C.F. (1982) "African Stage Design: Problems of collecting cataloguing and conserving documents". Performing Arts Resources Vol. 8, 6-9
- Banham, M. and C. Wake (1976) African Theatre Today. Pitman Publishing
- Clark, E. (1979) Hubert Ogunde: The Making of Nigerian Theatre. Oxford University Press
- Nigeria: Centre for Black and African Arts Civilization (1980) Information Bulletin
- Nigeria: Federal Department of Culture (1983) Annual Report. 24-31
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