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Wole Soyinka was born on 13 July 1934 at Abeokuta, near Ibadan in western Nigeria. After preparatory university studies in 1954 at Government College in Ibadan, he continued at the University of Leeds, where, later, in 1973, he was awarded an honorary doctorate. During the six years spent in England, he was a dramaturgist at the Royal Court Theatre in London 1958-1959. In 1960, he was awarded a Rockefeller bursary and returned to Nigeria to study African drama. At the same time, he taught drama and literature at various universities in Ibadan, Lagos, and Ife, where, since 1975, he has been professor of comparative literature. In 1960, he founded the theatre group, "The 1960 Masks" and in 1964, the "Orisun Theatre Company", in which he has produced his own plays and taken part as actor. He has periodically been visiting professor at the universities of Cambridge, Sheffield, and Yale.--Nobelprize.org

“[Soyinka is] a master of language, and [is committed] as a dramatist and writer of poetry and prose to problems of general and deep significance for man.”
–Lars Gyllensten, from his presentation speech awarding Wole Soyinka the Nobel Prize in Literature, 1986

“A brilliant imagist who uses poetry and drama to convey his inquisitiveness, frustration, and sense of wonder.”
–Newsweek

(CNN) -- Poet, dramatist and novelist, Wole Soyinka's work has left a large imprint on the literary landscape of Africa.

Poltical activist and Nobel Laureate, Wole Soyinka.

His work has been performed internationally and in 1986 was awarded the Nobel Prize for Literature. Regardless of the global profile and recognition, writing for Soyinka has always been, and always will be, a part of his life.

"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," he told CNN.

Before being honored with a Nobel Prize, Soyinka had written plays performed across the world, set up drama groups and held academic positions in the UK, the U.S. and Nigeria. Poetry and novels make up the rest of his work, but it is with the medium of drama that he feels most comfortable.

"When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on," he said.

Now 75, Soyinka claims it is a natural curiosity with life and humanity that has always compelled him to write, and should be a pre-requisite for all aspiring writers.

"Before you're a writer, you're a citizen, a human being, and therefore the weapons of the citizen are at your disposal to use, or not use," he said.

Often he's used those "weapons" to take aim at oppression, corruption, the legacy of colonialism and slavery, both in his work and more overtly in his political activism. At times he's suffered for his outspoken views; in 1967 he was imprisoned for 22 months for publicly calling for a truce during Nigeria's civil war and in 1994 was forced to leave the country when General Sani Abacha came to power.

"One of my earliest short stories in fact had to do with the story of a family which escaped enslavement by Portuguese slave leaders, so you can see how early I was preoccupied by that theme of power and freedom, and domination," he said.

"If there's one overriding political theme it's my continuing emphasis on the axis of freedom and power. I think that the history of the world, of all societies, has spun on those two axes."

Soyinka spends his time between Nigeria, Europe and the U.S., much of it on the lecture circuit, but the need to write remains.

"I've always written plays for the purpose of getting something out of my system. That's the first stage. And the next stage is, I want to get it onto the platform -- onto the stage. And once I've done that, no matter where, I'm satisfied."

Promo for 'Wole Soyinka child of the forest' documentary by Akin Omotoso

MNET pays tribute to Wole Soyinka

By Emmanuel Anyifite: May 2, 2009 11:38AMT

Wole Soyinka: Child of the Forest was screened recently by MNET, the South African network. The documentary on the Nobel Laureate and writer extraordinaire was one of the seven movies produced as tributes to great African visionaries,

The ‘Great Africans' series celebrates individuals who have influenced their countries through passion and dedication to their various fields of endeavour.

In a preview screening resplendent with the trappings of the man, viewers were treated to what, for lack of a better word, can be called Soyinkaism.

From the entrance of the Terra Kulture, venue of the screening, guests were greeted by characters from Soyinka's plays: Lakunle from ‘The Lion and the Jewel' donning his comical costume was followed closely by Kongi (from ‘Kongi's Harvest'). Brother Jero (from the Trials of Brother Jero and Jero's Metamorphosis) was in charge of the guest book; while the delectable Sidi (from ‘The Lion and the Jewel') ushered guests to their seats.

Even the cocktails had exotic Soyinkaesque names like Jero's Colada, Ake Punch, Opera Wonyosi, Strong Breed, Kongi and Lemon, Ibadan Penkelemes, and Giants on the Rocks. Each was a reflection of the Man and his works.

In an ambient environment charged with an undercurrent of excitement brought on by expectation as to the quality of the documentary film, ‘Wole Soyinka: Child of the Forest', members of the audience, who included businessmen, television personalities and literary aficionados were treated to highlife tunes by a live band as they settled in.

The guests included talk show host Mo Abudu, poet Odia Ofeimun and Soyinka's son, Ilemakin. Ofeimun and writer Molara Wood - both of whom appear in the film - were in the audience.

Others interviewed by filmmaker Akin Omotoso included: Jimi Solanke, Biyi Bandele, Femi Osofisan, Teju Cole, Helon Habila and Chimamanda Ngozi Adichie

South Africa based Omotoso thanked MNET for commissioning the film. "For the drinks, I recommend the strong breed," was his jokey suggestion to laughing guests. He concluded with a vote of thanks to all who contributed to making the movie.

Biola Adekanbi, MNET's new Managing Director for Africa, also gave a short speech. Entertainment was provided by guitarist Bez Idakula, who serenaded the audience with his tune, ‘One Nation, One Heart' and performance poet Efe Paul, who brought some literary fervour to the evening with his thought provoking poem, ‘When the Revolution Spoke'.

Efe laid the foundation for what turned out to be a potent night. With the spirits mellowed by fine cocktails, music and a dose of the full Nigerian treatment as palm wine (a prominent beverage in Soyinka's writings) served from gourds into calabashes, the movie commenced.

The movie:

From Wangari Maathai and Julius Nyerere to Nelson Mandela; from Emperor Haile Selassie to Patrice Lumumba, across the continent and through the ages, great African leaders have championed the causes of millions, inspired the imaginations of their peoples and driven the dream of a more successful and brighter tomorrow.

‘Wole Soyinka: Child of the Forest' profiles the Nobel laureate's life: the Boy, the Man, the Spiritualist, the Writer, the Visionary and the Revolutionary.

Soyinka is described by various interviewees as a restless, inquisitive spirit, who had a craving to explore. He sought knowledge not for self development but for the betterment in all ramifications of Nigeria and Africa.

The documentary shows well known sides of Soyinka as well as the less known, placing both at equal par. Not only as a playwright but a capable and brilliant composer, who composed scores for the stage productions of his plays.

He is credited with the powerful skill of using song, dance, music and incantations to bridge walls.

Depicted as revolutionary, the film reflects Soyinka's unwavering patriotism and somewhat foolhardiness in challenging the powers-that-be.

There is a many-voiced recounting of his famous radio station gun-toting hold up, rendered with exciting animation and portraying his extremism when the situation required it. As he himself says on film, he was also prepared to dialogue with power when necessary, even with the most murderous of Nigeria's dictators.

Soyinka is credited with a directness that brooks no arguments and incisive analyses borne out of a deep understanding of the human mind and the Nigerian nation.

A banner at the event carried these words: "The greatest threat to freedom is the absence of criticism." In the cause of the movie, an understanding of these words sinks in; and it appears that Soyinka's works were centred round this words.

Described, with qualification, by critic Biodun Jeyifo as a "difficult writer", the movie bears testimony to Soyinka's mastery of words. Using them, he could be brazen, witty and had the ability to intricately infuse messages in his works that are subtle and at the same time, startlingly clear.

The director did a fantastic job of carrying off a visual representation of what can be described as a powerful and indelible message.

Even though some of the displayed text could have been narrated, Omotoso put together a cast of commentators that were able to describe and engage viewers with the personality of Soyinka. The film is put together with a pace that avoids the drudgery sometimes associated with watching documentaries.

At the end of the documentary, it is easy to assume that a majority of the audience had the words ‘Legend! Legend!! Legend!!!' coursing through their minds.

Even though Soyinka was absent at the viewing, the screening was a powerful incentive to see the other six movies centred round these great Africans.

The ‘Great Africans' series continues on MNET.

The Vine with Henry Louis Gates Jr.: Wole Soyinka

“What if V. S. Naipaul were a happy man? What if V. S. Pritchett had loved his parents? What if Vladimir Nabokov had grown up in a small town in western Nigeria and decided that politics were not unworthy of him? I do not take or drop these names in vain. Wole Soyinka, the Nigerian novelist, playwright, critic, and professor of comparative literature, belongs in their company.”
–John Leonard, The New York Times

“A brilliant imagist who uses poetry and drama to convey his inquisitiveness, frustration, and sense of wonder.”
–Newsweek

“If the spirit of African democracy has a voice and a face, they belong to Wole Soyinka.”
–Henry Louis Gates, Jr., The New York Times

Nobel Prize Award Ceremony: Oslo1986

Banquet Speech

Wole Soyinka's speech at the Nobel Banquet, December 10, 1986

Your Majesties, Ladies and Gentlemen,

It was inevitable that the Nordic world and the African, especially that part of it which constitutes the Yoruba world - should meet at the crossroads of Sweden. That I am the agent of such a symbolic encounter is due very simply to that my creative Muse is Ogun, the god of creativity and destruction, of the lyric and metallurgy. This deity anticipated your scientist Alfred Nobel at the very beginning of time by clearing a path through primordial chaos, dynamiting his way through the core of earth to open a route for his fellow deities who sought to be reunited with us, mortals. I covered that event for my publishers - well, taking a few poetic licences, naturally - under the title IDANRE. You may have run into that reportage which has been translated into Swedish under the title, OGUN SKUGGA. If you have not, I recommend that you proceed to the nearest bookseller for this piece of pre-history which makes Ogun, very definitively, the progenitor of your great inventor, Alfred Nobel.

I urge this especially because, if you happened to take a casual walk through the streets, or peer into the hotel lobbies of Stockholm, you might get the impression that my nation, Nigeria, has tried to solve some of its many problems by shifting half its population surreptitiously to Sweden. I assure you, however, that they have merely come to satisfy a natural curiosity about the true nationality of this inventor. For they cannot understand why their Ogun should have transferred such a potent secret to a Swede rather than to his Yoruba descendants. The mountains of Sweden are a tempting habitat for this deity, we know, but the Swedish winter and long midnights are hardly congenial to his temperament. And while the local acqua-vitae might help to infuse some warmth into his tropical joints, we do know that he tends to stick to his favourite palm wine.

Some day, I suppose, we will unravel this mystery. In the meantime, however, we will content ourselves with saluting the vision which made our presence here today a positive event, since it was Alfred Nobel's hope that the humanistic conversion, even of the most terrible knowledge, can improve the quality of life for mankind. That also is the lesson of Ogun, that essence of the warring duality of human nature. And we join in the endeavour that the lyric face of that demiurge will triumph in our time, snaring for all time that elusive bird - peace - on our planet earth.

From Les Prix Nobel . The Nobel Prizes 1986 , Editor Wilhelm Odelberg, [Nobel Foundation], Stockholm, 1987

SOYINKA SOCIETY

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