When Hubert Ogunde Met Obafemi Awolowo

In 1964, Western Nigeria was engulfed in intense political crisis. Chief Obafemi Awolowo, leader of the opposition and a dominant political figure in the Western Region, had been convicted on charges of treasonable felony in 1963 and was serving a prison sentence. His incarceration deepened political divisions within the region.
It was in this atmosphere that legendary dramatist Hubert Ogunde intervened — not with weapons or speeches, but with theatre.

Yoruba Ronu (“Yoruba, Think!”)

In 1964, Ogunde staged the controversial play Yoruba Ronu. The drama was widely interpreted as a sharp critique of the political leadership of the Western Region, particularly targeting Samuel Ladoke Akintola, who was then Premier.
The play addressed themes of betrayal, factionalism, and the dangers of political disunity among the Yoruba. Its message resonated deeply at a time when the region was polarized between Awolowo’s supporters and Akintola’s government.
The response was swift. The government banned Ogunde’s theatre company from performing in the Western Region for two years (1964–1966). Given that the majority of his audience was Yoruba-speaking and based in that region, the ban had severe financial consequences.

Otito Koro (“Truth Is Bitter”)

In reaction to the ban, Ogunde produced another politically charged play, Otito Koro. The title itself suggested defiance. Through allegory and symbolism, Ogunde continued to challenge political authority and defend artistic expression.
His theatre became a forum for political reflection — a rare platform in an era when dissent was increasingly suppressed.

The 1966 Coup and Aftermath

On January 15, 1966, Nigeria experienced its first military coup. Premier Samuel Ladoke Akintola was killed during the coup, and the Western Region government was overthrown. The military takeover dramatically altered Nigeria’s political landscape.
Shortly afterward, the ban on Ogunde’s theatre company was lifted by Francis Adekunle Fajuyi, who had been appointed Military Governor of the Western Region.
Many observers later described Yoruba Ronu as prophetic — a cultural warning about the destructive consequences of political division.

Theatre as Political Resistance

The encounter between Ogunde’s art and Awolowo’s political struggle illustrates a broader truth about Nigerian history: theatre was not merely entertainment. It was activism.
Hubert Ogunde used performance to:

Critique political leadership

Mobilize public consciousness

Preserve Yoruba cultural identity

Challenge censorship

In doing so, he demonstrated that the stage could be as powerful as the parliament.

Historical Significance

The events surrounding Yoruba Ronu highlight:

The deep crisis within the Western Region during the First Republic

The intersection of culture and politics in post-independence Nigeria

The risks faced by artists who challenged authority

Today, Ogunde is remembered not only as a pioneer of Nigerian theatre but also as one of its boldest political voices — a dramatist who dared to tell the truth in turbulent times.

Sources

Ebun Clark, Hubert Ogunde: The Making of Nigerian Theatre (Oxford University Press).

Biodun Jeyifo, The Yoruba Popular Travelling Theatre of Nigeria.

Tekena N. Tamuno, Nigeria Since Independence: The First 25 Years.

Toyin Falola & Matthew Heaton, A History of Nigeria.