Almost five decades after hosting FESTAC '77, the famous National Theatre has been transformed into the Wole Soyinka Centre for Culture and Creative Arts, merging nostalgia, music, and grandeur in a Lagos night that gathered Nigeria's political and cultural leaders, writesOLUWAKEMI ABIMBOLA
Let's be clear, I wasn't born when the National Theatre was constructed, my parents hadn't even met yet, but I have a quite intriguing link to the building and its nearby area, at least through a story my dad told me before he passed away in 2020.
It was the tale of the Agosu family's god, Bosinkpe, a wooden sculpture that was meant to be kept by my uncle, yet ended up in the possession of one of my elder cousins, who took it to the National Theatre for verification of its age. Essentially, before I set foot on the theatre's grounds, now known as the Wole Soyinka Centre for Culture and Creative Arts, my ancestors had already arrived.
Coming through the Lagos Blue Line, which has a station at the National Theatre, on Wednesday, I was greeted by a large group of security personnel, police officers, soldiers, men in dark suits, and military vehicles. It was anticipated, after all, that the President of the most populous black nation was arriving.
I expected to enter the renovated building through a gate nearer to the train station, as occurred when the Governor of the Central Bank of Nigeria, Olayemi Cardoso, and members of the Bankers Committee, who were top bank Managing Directors, visited in March 2025. However, I was greatly disappointed as I kept being instructed to move forward. Therefore, I walked alongside the slow-moving traffic of vehicles attempting to drop off passengers or leave the premises until I located the correct gate, where I showed my PUNCH Identification Card and was allowed entry.
If you believe that was the sole security process I underwent, you're incorrect. I previously mentioned that President Bola Tinubu was attending this event, which led to several security checks throughout the area. I climbed the hill, where I encountered a changed entrance. I presented my ID once more, a private security officer scanned my body for metal, checked my bag, and guided me to the registration tent, where I received my press badge.
Another security check and I found myself in the brightly lit lobby of the newly renovated Wole Soyinka Centre for Culture and Creative Arts. It appeared more impressive than when I last visited, with well-dressed individuals moving around, chatting, and enjoying a drink or two.
I was here for work, not for enjoyment, so I went up the stairs to the main area where the unveiling was set to take place. There, I ran into some colleagues who informed me of the news that always annoyed me: the event would start at 6pm. It was already a few minutes past 4pm. Tired from this information, I moved more slowly up the remaining stairs to join those who had arrived earlier and were waiting for the event to begin... actually, waiting to be allowed into the main area.
Fortunately, the wait wasn't very long, and we were soon allowed inside. To be honest, I should have stayed in the lobby because the cold air that greeted me as I entered took away some of the wonder of being in that place. I wasn't able to fully enjoy the impressive, towering artwork near the entrance, but there was no doubt that a significant amount of money had been invested in the renovation.
The red chairs encouraged you to sit down, the large stage demanded your focus, so your eyes would move around eagerly, seeking what else this impressive structure had to offer. Indeed, looking up revealed a view of the horizontal abacus-like chandeliers set into the curved ceiling. That was how I waited for the President's arrival, occasionally greeting familiar faces, working on my daily reports, observing people, and listening to the male host conducting a sound check.
A typical discussion I had with people revolved around the coldness in the building. Some coworkers even suggested that the operator turned it on and went home. Regardless of the situation, the main bowl remained cool throughout the entire event. Well, I discovered a new method to stay comfortable in such a chilly environment, which was to wear thermal clothing under my regular attire. There you go! You won't be affected.
Around 6 p.m., the host declared that the President had arrived at the venue and instructed everyone to take their seats. Shortly thereafter, all gazes in the hall shifted towards the VIP area to see President Tinubu, along with his wife, Oluremi; the Governor of Lagos State, Babajide Sanwo-Olu, accompanied by his wife, Ibijoke; Governor of the Central Bank, Olayemi Cardoso; Senate President, Godswill Akpabio; Speaker of the House of Representatives, Tajudeen Abbas; Minister of Art, Culture, Tourism, and the Creative Economy, Hannatu Musawa; members of the Federal Executive Council, and the central figure of the evening, Professor Wole Soyinka.
The national anthem was played by the Apex Ensemble from CBN and the military band. With the President in attendance, all three verses were sung. This signaled the start of the event, which, as listed in the schedule, was expected to last approximately 120 minutes. If you thought it went longer, you are completely correct.
One of the hosts was the renowned Eugenia Abu, who appeared in a vibrant purple attire paired with an identical 'gele,' showcasing her unique voice and strong command of the English language. She handled the introductions, outlined the procedures, and then Governor Sanwo-Olu stepped up to deliver the opening speech of the night. The Lagos governor took the audience back in time, and his speech was filled with eloquent and artistic language.
He stated, "We are particularly pleased to have you here on this occasion marking the country's 65th independence anniversary. In the very city where the Union Jack was lowered for the final time and the Green White Green raised for the first time 65 years ago. Esteemed guests, ladies and gentlemen, today, history surrounds us once more. We have come together not only to witness the inauguration of a renovated building or to celebrate the revival of the national symbol, the National Arts Theatre, now appropriately called the Wole Soyinka Centre for Culture and Creative Arts. This milestone is more than just concrete and steel; it represents the pulse of our nation's creative spirit. It serves as a reminder that culture is not a hindrance to progress; it is the base upon which identity, unity, and advancement are established. Nearly 50 years ago, in this same hall, Lagos hosted FESTAC 77, a brilliant gathering of African and Black voices from around the globe."
It was in this place that we demonstrated what could be achieved when culture took the lead, when art transformed into a universal language of unity. That same spirit continues to thrive here today. This historic festival occurred right here within this complex. Some of the world's most renowned artists, performers, and intellectuals have graced this hall with enduring performances, music, dance, and thought-provoking discussions. It is accurate to say that FESTAC 77 provided us with the National Theatre, and the National Theatre, in turn, gave rise to FESTAC 77, proving to the world that Africa and the Black civilization are fully capable of accomplishing what we set our minds and hearts to.
Sanwo-Olu also acknowledged the contributions of the Central Bank, Bankers Committee, the Ministry of Art, Culture, Tourism, and the Creative Economy, in the renovation process. He specifically pointed out that the state government had provided a significant amount of extra land to support the creation of a top-tier creative hub near the theater, suggesting that, in addition to restoring the main structure, there were intentions for developments in the surrounding area.
Regarding Professor Soyinka, the Lagos governor did not hold back in his commendation, praising him as, "I cannot finish without giving special recognition to the man, the icon, after whom this center has now been renamed by His Excellency, Mr. President, the individual we refer to as Eni Ogun, Professor Oluwole Akinwande Soyinka, Africa's first Nobel Laureate in Literature. His plays, The Trials of Brother Jero, Jero Metamorphosis, and the Beatification of Area Boy, along with his novel, The Interpreters, are all set in Lagos, demonstrating the lasting inspiration of our cherished city. With the official inauguration of the Wole Soyinka Centre for Cultural and Creative Arts, we are confident that Prof will be spending even more time here in Lagos on these renovated premises, performing his landmark works and producing new ones for us."
Musawa's speech was especially touching because she incorporated a poem she composed, which was inspired by a spoken word performance she mentioned Tinubu shared with her at the start of her tenure.
The speeches were interrupted by a performance from the National Troupe, who delivered their first official show at the restored building, and it was beyond expectations. Indeed, the four performances of the evening warranted a separate review, but I'm not certain I possess the right words or enough space to properly honor them. However, I will make an effort.
The National Troupe's show showcased the varied and deep cultural legacy throughout Nigeria, while the 'Akuko Na Egwu' (story and dance) performance by the Gerald Eze Ensemble served as a message to the Igbo region, presented with a steady tone and skill by Ugbooja Eze, illustrating a person who had perfected his craft and successfully engaged the audience. Even those who did not speak Igbo were captivated by the village life depiction the performer created through words and traditional instruments.
One of the acts came from MudArt House Company, a dance group based in the North. Additionally, BAP Production, which is run by Bolanle Austen-Peters, captivated the crowd with an intense portrayal of life at the late Fela Anikulapo-Kuti’s Kalakuta Republic. For Lady Malaika, who is from America and plays the 'strange woman' in the play, a small piece of advice for next time: be careful not to get too close to second-hand smoke.
One of the day's standout moments was when Professor Soyinka addressed the audience. He stood at the microphone, his hand wrapped in a bandage, as he reflected on past experiences and shared recent happenings. He even suggested that the President was involved in a plot to rename the building where he was speaking after himself, fully aware of his strong opinions regarding naming institutions after individuals. He provided several explanations for declining the recognition, yet maintained that he had been caught off guard.
"Seriously speaking, I want to express my gratitude for this honor. Those of you who have been part of it, including your President, who is a skilled conspirator and knows how to set traps here and there. That's fine. This has once again caught another victim, and I appreciate that. And to everyone who will use this hall, let me remind you that I truly represent the concerns, the dedication, and the commitment of others. My hope is that with the restoration of this building and institution, we won't have to travel all the way to Abu Dhabi to watch African theater," he said.
Regarding how the building's structure was formed, Soyinka said, "I recall this building when it was first constructed during a military government. I believe we referred to it as the General's Hat because of the roof's shape. Naturally, there was very little of what I call African architectural ingenuity in its design. In fact, it was an imported structure that the then Commissioner of Culture saw when they visited, I think it was Bulgaria, and it wasn't actually a theatre, but a ballet de sport where people paraded in honor of power and then performed some athletics to demonstrate that they were bringing in the people. I looked at it and just said, I'll take that, but make it one and a half times larger because Nigeria is bigger than this country. And that's how this building came to be."
As it was the turn of the CBN governor to speak, he swiftly dispelled any concerns that he would address exchange rates and interest rates. In fact, his speech highlighted the importance of the arts in national development, as well as the Bankers Committee's contributions of N68bn toward the restoration of the newly reopened building. He also spent time honoring the legacy of the late Access Holdings Group Managing Director, Herbert Wigwe, who passed away in a helicopter accident in the US in February 2024.
He stated, "The Central Bank of Nigeria, the Bankers’ Committee, the Lagos State Government, and the Ministry of Arts and Culture and Creative Economy joined forces with a common goal to implement this national initiative, with the Bankers’ Committee contributing around N68bn on its own. I would like to mention that this contribution was not merely a form of corporate social responsibility, but a conscious investment in the cultural future of Nigeria. This project serves as evidence that when the public and private sectors come together for a shared national objective, there are no limits to what Nigeria can accomplish."
I express sincere gratitude to my colleagues in the Bankers’ Committee, to the Lagos State Government for its robust infrastructure support, to the Ministry of Arts, Culture, and the Creative Economy for its essential coordination, to other partner ministries and agencies for their cooperation, to the late Herbert Nwigwe, whose vision and enthusiasm were instrumental, and to the implementing partners whose skills ensured its accurate execution. Today's celebration goes beyond just a building. By naming this center after a highly respected professor, Wole Soyinka, we recognize a remarkable creative figure, Africa's first Nobel Prize winner in Literature, whose work has motivated generations and whose voice has served as a moral guide for our country.
As the Yoruba proverb goes, “Egun nla lo ma nkehin igbale,” which translates to, “The biggest masquerade always arrives last to conclude the event,” President Tinubu concluded the evening’s speeches. He immediately addressed Professor Wole’s allegations of a conspiracy, stating, “There was no conspiracy anywhere; I did it,” which caused the audience to laugh. The president also mentioned that the reopening of the national theatre meant he wouldn’t have to endure the ceremonial military parades, which had been previously canceled.
This has broken the routine of the military march past parade and everything. By organizing this program, I was able to get a good sleep, enjoy a nice breakfast, and look forward to this evening. Today has been a well-spent evening," he said, referring to the CBN governor, Tinubu added, "The governor without term limits, no campaign, contributions, counting down, debts and small change, no ways and means. Thank you for that beautiful comment on the history and significance of our youth and connecting it to this stage. Some of them may not have been rewarded yet, but with this innovation, the banker committees have deemed it necessary to reward the whole continent.
Now that the National Theatre is fully functioning, one can only share Soyinka's hopes that the building will be renamed after his theatrical character, serving as a source of motivation for upcoming creative individuals in the future.
Regardless, just as the President acknowledged that he had a pleasant evening, I too had a good time, but that's where the similarities stopped. As he and his group drove away in their cars, I headed to the bus stop and noticed a wide gap in the connected road near the Costain gate, with a tree trunk laid across it. My thoughts briefly turned to the cost of that road construction and I wondered why part of the road would collapse even though the building had only recently been declared open to the public.
Provided by SyndiGate Media Inc.Syndigate.info).
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