In a historic moment for Nigeria’s cultural landscape, Nobel Laureate Wole Soyinka has shared his complex emotions and reasoning behind accepting the renaming of the iconic National Theatre in Iganmu, Lagos, as the Wole Soyinka Centre for Culture and the Creative Arts. The decision, announced by President Bola Tinubu, marks a significant milestone in recognizing Soyinka’s contributions to literature, theatre, and the global cultural canon. Speaking at the reopening and re-dedication ceremony of the newly refurbished edifice, Soyinka offered a candid reflection on his longstanding criticism of naming public monuments after individuals, the nostalgic pull that influenced his acceptance, and the transformative journey of the National Theatre itself.
Soyinka, a towering figure in African literature and the first African to win the Nobel Prize in Literature in 1986, has long been vocal about his disapproval of the trend of appropriating public monuments for personal glorification. During his address, he acknowledged the irony of his position, stating, “I have been guilty of saying other people do not merit this kind of monumental dedication, and then I had to stand up in public and watch my name being put up as yet another appropriator. It just didn’t seem well with me.” His discomfort stems from a broader critique of the practice in Nigeria, where he believes that the naming of public buildings, roads, and other landmarks after individuals—particularly past leaders—has often been excessive and unwarranted. He remarked, “I’m notorious for having criticised any appropriations. Personal appropriations of public monuments by some of our past leaders, which would end up that everything is named after them.”
In a moment of self-reflection, Soyinka offered a measured perspective on the matter, suggesting that while some dedications are justified, the practice has been overused. “I’ll be modest, given the general estimate, to say that about 25 percent of monuments, whether they are buildings or roads in particular in this country, are well and truly deserved,” he said. This acknowledgment underscores his belief that only a fraction of such honors are genuinely merited, based on significant contributions to the nation’s cultural, social, or political fabric. Soyinka’s critique is not merely a rejection of vanity but a call for discernment in how Nigeria commemorates its heroes and landmarks.
Despite his reservations, Soyinka’s acceptance of the renaming was influenced by a deep sense of nostalgia and a recognition of the historical and cultural significance of the National Theatre. Reflecting on the theatre’s history, he paid homage to Nigeria’s theatrical pioneers, such as Hubert Ogunde and opera composer Adam Fiberesima, whose contributions laid the foundation for the country’s vibrant performing arts scene. Soyinka noted that the decision to accept the honor was not taken lightly, stating, “Somebody has to carry the can,” implying that he saw himself as a representative of the broader cultural legacy rather than an individual seeking personal aggrandizement.
The National Theatre, originally constructed during Nigeria’s military era, holds a special place in Soyinka’s memory, particularly for its role during the Second World Black and African Festival of Arts and Culture (FESTAC ’77). The festival, held in Lagos in 1977, was a landmark event that brought together artists, performers, and intellectuals from across Africa and the diaspora to celebrate Black culture and heritage. Soyinka recalled the theatre’s prominence during this period, describing it as a vibrant hub of creativity and cultural exchange. “I remember this building was first erected during the military regime. We had FESTAC ’77 in this very hall,” he said, evoking the grandeur of the era when the National Theatre stood as a symbol of Nigeria’s cultural ambition.
However, Soyinka also spoke candidly about the theatre’s decline over the decades, a deterioration that mirrored broader challenges in Nigeria’s infrastructure and cultural preservation. By the time Lagos was preparing to celebrate its 50th anniversary, the National Theatre had fallen into such disrepair that Soyinka described it as “irredeemable” and “like a slum.” He recounted a visit to the site during the anniversary preparations, where he was so dismayed by its condition that he jokingly suggested to the then-governor and his team, “Get somebody secretly, plant a bomb, and blow it up.” His hyperbolic remark underscored the extent of the theatre’s degradation, which he saw as a betrayal of its cultural significance.
The transformation of the National Theatre into the Wole Soyinka Centre for Culture and the Creative Arts represents a remarkable turnaround, one that Soyinka praised effusively. “If eating one’s word produces a morsel like this, then it’s a very tasty set of words,” he quipped, marveling at the refurbished building’s modern facilities and restored grandeur. The renovation not only revitalizes a key cultural landmark but also aligns with Soyinka’s vision of a Nigeria that values its artistic heritage and invests in spaces that foster creativity and cultural expression.
Soyinka’s acceptance of the renaming, despite his initial misgivings, also reflects a pragmatic acknowledgment of his role as a cultural icon. His contributions to Nigerian and global literature, theatre, and intellectual discourse are undeniable. From his groundbreaking plays like Death and the King’s Horseman to his fearless activism and critiques of political oppression, Soyinka has shaped Nigeria’s cultural and intellectual landscape for decades. The renaming of the National Theatre in his honor is, in many ways, a recognition of his enduring legacy and a call to future generations to uphold the values of creativity, critical thought, and cultural pride that he embodies.
The rechristened Wole Soyinka Centre for Culture and the Creative Arts is poised to become a beacon for the arts in Nigeria, serving as a hub for theatre, music, dance, and other creative endeavors. The refurbishment signals a renewed commitment to preserving Nigeria’s cultural heritage while adapting to contemporary needs. For Soyinka, the transformation of the theatre from a dilapidated “slum” to a state-of-the-art facility is a testament to the power of collective effort and vision. It also serves as a reminder of the importance of maintaining public spaces that reflect a nation’s identity and aspirations.
In his address, Soyinka’s reflections were not only personal but also philosophical, touching on the broader question of how nations honor their heroes and preserve their cultural legacies. His mixed feelings about the renaming highlight a tension between individual recognition and collective heritage, a theme that resonates deeply in a country like Nigeria, where history, identity, and memory are often contested terrains. By accepting the honor, Soyinka has not only reconciled his personal principles with the realities of public commemoration but also embraced his role as a steward of Nigeria’s cultural legacy.
The renaming of the National Theatre as the Wole Soyinka Centre for Culture and the Creative Arts is more than a symbolic gesture; it is a call to action for Nigeria to invest in its cultural institutions and to celebrate the artists, thinkers, and visionaries who have shaped its identity. Soyinka’s acceptance, tempered by his characteristic humility and critical insight, underscores the importance of balancing personal recognition with a commitment to the collective good. As the newly refurbished centre opens its doors, it stands as a testament to Nigeria’s rich cultural heritage and a hopeful vision for its future—a future where creativity, history, and pride converge to inspire generations to come.
