LARGER THAN HIS FRAME II Edited by: Duro Oni Sunday Enessi Ododo Olu Obafemi Further Critical Studies and Re�ections on Edited by: Duro Oni, fsonta, FNAL Sunday Enessi Ododo, fsonta, FNAL LARGER THAN HIS FRAME II Olu Obafemi Further Critical Studies and Re�ections on ALPHA CROWNES PUBLISHING LTD. Department of English, University of IlorinNATIONAL THEATRE ‘Larger than his Frame II: Further Critical Studies and Re�ections on Olu Obafemi’ Published by National eatre, Nigeria Iganmu, Lagos, Nigeria in conjunction with Alpha Crownes Publishing Ltd 107 Windmill Street Rochester, United Kingdom and Department of English University of Ilorin, Nigeria is book is copyright protected. No part may be reproduced by any process without written permission. Enquiries should be made to the publisher .s A catalogue record for this book is available from the British Library. First published by Alpha Crownes Publishing Ltd the National eatre, and (University of Ilorin).Department of English ISBN 978-0-9935781-5-1 © 202 by Duro Oni, FNAL and Sunday Enessi Ododo, FNAL1 fsonta, fsonta, © Cover Design : Tokunbo Esho and Book Layout Printed in Nigeria by Etchwise Consulting Ltd. info@etchwiseonline.com | +234 803 805 9815 10 9 8 7 6 5 4 3 2 1 Lagos London Ilorin ii To e eternal memory of Pa Emmanuel Buraimoh Obafemi and In enduring salutation to Mama Hannah Omorewo Obafemi, for Begetting 'Jagun-Gogorogo' - A literary riddle of all times. Dedication iii Some twenty one years ago, Sunday Ododo and I embarked on a project of a series of thessays to mark the 50 birthday of Professor Olu Obafemi. e efforts culminated in the publication of a 350 page Larger than his Frame: Critical Studies and Re�ections on Olu Obafemi, a sobriquet that appears to have stuck with the subject of our academic enquiry. If we thought that Professor Olu Obafemi was worthy of such attention in the year 2000, his creative and academic output, coupled with growth and development in the last twenty years equate what some may achieve in �y years! Our attempt at capturing the impact, in�uence and creative output of Professor Olu Obafemi, FNAL, NNOM in a second publication: Larger than his Frame II has been a journey across social, cultural and academic boundaries to produce an eight hundred plus publication. In the journey, we were blessed with the kind acceptance of His Excellency, President Muhammadu Buhari, GCFR who wrote the Foreword. Mr. Olufemi Adesina, SA, Media to the President, thanks for making this possible. e National eatre Management with the Governing Board is greatly acknowledged for spearheading the editorial and publication processing of this book with needed production attention. We are indeed indebted to all the contributors to this important commemorative work; your efforts have burnished light on the intellectual and creative versatility of Olu Obafemi for the world to appreciate more. Sola Adeyemi of Alpha Crownes, London, is of tremendous value to the actualization of this book with his extensive editorial inputs. You are well appreciated. We also acknowledge the celebrative goodwill of Alhaji Adamu Adamu, Hon. Minister of Education, Alhaji Lai Mohammed, Honourable Minister of Information & Culture, Prof. Abubakar Rasheed, ES, NUC, Prof. Ishaq Oloyede, Registrar JAMB, Prof. S. A. Abdulkareem, VC, Unilorin and Prof. Abdulrasheed Na'Allah, VC, Uniabuja. Others are Mallam Ado Yahuza, ES, NICO, Turaki Nura Acknowledgments iv Kangiwa, DG, NIHOTOUR, Alhaji Adedayo omas, ED, NFVCB and Prof. Francis Egbokhare, President, Nigerian Academy of Letters (NAL). Finally, we would like to acknowledge the goodwill and encouragement from the Olu Obafemi family: Mrs. Grace Dupe Obafemi, Mr. Dele Obafemi, Dr. Moroutodun Joseph and Mr. Lanre Obafemi. All Glory be to God for making this feat possible once more. Duro Oni, fsonta, FNAL Sunday E. Ododo, fsonta, FNAL v vi Contents Acknowledgments Foreword Introduction is Humbling Journey through life (Acceptance Speech of the Nigerian Order of Merit (NNOM) Award, 2018) - Olu Obafemi, FNAL, NNOM ESSAYS 1. Pro�ling Olu Obafemi the Master Builder - Sunday Enessi Ododo, fsonta, FNAL 2 e Okun-Yoruba Factor in the Personality and Scholarly Exploits of Olu Obafemi- Dele Adeyanju, Ph.D 3. Revolutionary drama and post-revolutionary drama in American and Nigerian theatres - Kurt Eisen, Ph.D 4. Nigerian Drama and National Unity: Olu Obafemi's Dramaturgy and the New Historical Criticism - Duro Oni, Ph.D & Solomon Omatsola Azumurana, Ph.D 5. Posthumanism and the Posthumanist Prototypes in Selected Plays of Olu Obafemi - AbdulRasheed A. Adeoye, Ph.D 6. Identifying Symptomatic Elements of a Corroded Society in Olu Obafemi's Writings - Oluwatoyin Olokodana–James, Ph.D 7. “The Soup wey e sweet na Money kill am”: Con�gurations of Power, Money and Gender Issues in Olu Obafemi's Naira has no Gender -Irene Agunloye, Ph.D 8. Critical Perspectives on ematic Issues in Olu Obafemi's Naira has no Gender - Barclays Foubiri Ayakoroma, Ph.D 1 14 19 21 39 48 60 80 99 107 119 iv xv vii 9. I will marry him even if he is Poor: Deconstructing and Reconstructing the Yoruba Omoluabi Persona Essence in Olu Obafemi's Naira Has No Gender - Bode Ojoniyi, Ph.D, Olufemi Atoyebi and Olutola Osuolale Okewusi 10. Olu Obafemi's Vision of a New Social Order in Suicide Syndrome and Naira Has no Gender - Abdullahi Lawal & Ameh Dennis Akoh, Ph.D 11. “What's in a Name?” Onomastics and Characterology in Olu Obafemi's Naira Has No Gender - Mulikah Adeyemi Lawal 12. Visionary Commitment and Social Protest in Olu Obafemi's Naira Has No Gender - Dike Okoro 13. Representation of African Indigenous Knowledge Systems in Olú Obáfémi's Naira Has No Gender - Olálérè Adéyemí, Ph.D 14. Catching the Mirage: Olu Obafemi's Running Dreams and the Leadership Problematic in Developing Nations - Sunday Enessi Ododo, Ph.D & Shadrach Teryila Ukuma, Ph.D 15. Imagining Obafemi's Running Dreams as World Literature - Foluke Aliyu-Ibrahim, Ph.D 16. e Dialogue of A Literary Artist with his Art: Creative Writing as Psychotherapy in Olu Obafemi's Running Dreams - Issa Omotosho Garuba 17. Africa must buy Future: Strategies for Societal Transformation in Olu Obafemi's Running Dreams and Dark Times are over? - Ajibola Opeyemi 18. Writing/Righting Moral Decadence in Nigerian University in Olu Obafemi's Dark Times are over? - Olaniyan, Solomon O. & Olaniyan, Gabriel A. 19. A Semiotic Reading of Olu Obafemi's Scapegoats and Sacred Cows - Charity A. Angya, Ph.D 20. Amplifying e 'subversionary Directorial Style In Performing Olu Obafemi's Scapegoats And Sacred Cows On e Contemporary Nigerian Stage - Olympus G. Ejue, Ph.D 21. Power, Politics and Social Change in Olu Obafemi's Scapegoats and Sacredcows - Saint E.T. Gbilekaa, Ph.D 22. Artistic Bluntness and Functional Aesthetics' Performance Approach of Olu Obafemi's Scapegoats and Sacred Cows - Felix Damilola Emoruwa, Ph.D 136 147 158 174 183 200 213 222 236 250 257 269 281 290 viii 23. e Playwright's Subversive Strategies in Speaking to Power in an Unjust Society: Obafemi's Scapegoats and Sacredcows in Focus - Kenneth Efakponana Eni, Ph.D and James I. Eshiet, Ph.D 24. Language usage in Transcribed Songs of Olu Obafemi's Scapegoats and Sacred-Cows as Performed by English-Drama Students, Unilorin - Victoria O. Ikibe & Solomon O. Ikibe, Ph.D 25. eatrical Musicality in Olu Obafemi's Scapegoats and Sacredcows - Tosin Elijah Oje 26. Beyond Scuttled Dreams: e Antithesis of Social Con�icts in e Plays of Olu Obafemi - Ahmed Yerima, Ph.D & Yemi Atanda, Ph.D 27. A Study of Proverbs and Gender Perspective in Olu Obafemi's Pestle on e Mortar - Moshood Zakariyah& Mariam Titilope Gobir 28. Symbolism and Sociocriticism in Olu Obafemi's Pestle on e Mortar - Ogah Mark Onwe 29. Premier Production of Olu Obafemi's Love Twirls of Adiitu and Iyunade: A Fabulist Assessment - Abdullahi Salih Abubakar, Ph.D 30. Proverbial Intelligence and Satirical Socio-Prophetic Tendencies in Love Twirls of Adiitu and Iyunade and Pestle on the Mortar - Itsewah Steve James 31. Scenic Design Motifs in Olu Obafemi's Love Twirls of Adiitu and Iyunade - Adesina Adegbite 32. Drama and Social Change: A Study of Olu Obafemi's Love Twirls of Adiitu and Iyunade - Florence Adedoja Elegba, Ph.D 33. A Sociopragmalinguistic Analysis of Olu Obafemi's Love Twirls of Adiitu And Iyunade - Joyce Emuchay, Ph.D 34. Scenographic Conception and Dramatic Action in Olu Obafemi's Plays - -Sunday Enessi Ododo, Ph.D & Musiliyu Sanni 35. Engaging Rhetoric and Dialogue with History in Socio-politcal Climate of Nights of A Mystical Beast by Olu Obafemi - Yemi Atanda, Ph.D & 'Lanre Agboola 36. Death Not a Redeemer: Resistance instead of Suicide in Olu Obafemi's Suicide Syndrome - Cornelius Eze Onyekaba, Ph.D 298 312 321 332 348 358 368 384 393 401 426 433 448 414 ix 37. Olu Obafemi: e Dramatist as the Conscience of the Nigerian State - Bosede Funke Afolayan, Ph.D 38. Subaltern Narratives and Socio-political Pageantry in Olu Obafemi's Suicide Syndrome - Oludolapo Ojediran, Ph.D, Olayinka Magbagbeola & Olubukola Kehinde 39. Marxism in Critical Discourse – An Example of Obafemi's e New Dawn - M. S. Abdullahi-Idiagbon, Ph.D & Iyanda Olanrewaju 40. Tangible and Intangible CulturalHeritage in the Plays of Olu Obafemi - Monica O. Sunnie-Ododo, Ph.D 41. A Re-reading of Humanism in Olu Obafemi’s Near and Distance Cries (2018) - Yacim Roseline, Ph.D 42. Omo Ajon and the Joint Task of Nation Re-building - Gbemisola Adeoti, Ph.D 43. Oral Texture and Communal Vision in Olu Obafemi's Wheels - Reuben Kehinde Akano, Ph.D 44. Out of the Woods with African Poetry: A Critical Appreciation of the Aesthetics of Discourse in Olu Obafemi's Poetry - Abubakar Othman, Ph.D 45. e Poet as Dramatist: Paradigm of Olu Obafemi's e Do Gooders - Anthony A. Obaje, Ph.D 46. Olu Obafemi as a Metaphorist: A Study of Songs of Hope - Olaniyi Oladimeji, Ph.D 47. e Musicality of Olu Obafemi's Illuminations: Songs, Dances, from the Belly of Time as a Performance Poetry - Oluwatosin John Ibitoye 48. Reminiscence of Repressive State and Political Negotiation of Death in Olu Obafemi's “e Terror in Dark Hollow-frames” In Illuminations: Songs and Dances from Belly of Time - Kadir Ayinde, Abdullahi, Ph.D INTERVIEWS 49. Olu Obafemi and Socio-Radical Dialectics: A Dialogistic Engagement - Tunde Olusunle, Ph.D 50. A Running Conversation with Olu Obafemi - Foluke R. Aliyu-Ibrahim, Ph.D 467 478 498 510 516 528 539 548 555 562 578 587 597 599 617 x 51. e interview with Prof Olu Obafemi at 70 - By Sunday Enessi Ododo, Ph.D, Nwagbo Pat Obi, Olayinka Magbagbeola and Stephen Okpadah 52. Interview with Professor Olu Obafemi, Distinguished Scholar and Creative Intellectual - Charles Bodunde, Ph.D 53. Prof. Olu Obafemi: Story of a Hawker's Son who became English Professor - Funke Olaode REVIEWS 54. A Review of Public Mediation and Society By Olu Obafemi - Femi Ademiluyi, Ph.D 55. Olu Obafemi 1950 OE: Divinely Creative Mysteries in the translation of D.O. Fagunwa's Adiitu Eledumare as The Mysteries of God – Book Review” - Mabel Evwierhoma, Ph.D TRIBUTES I e Tongue, e Gong and e Song: Olu Obafemi at 70. - Toyin Falola II. - Sam Little Fire, but Never to be Pocketed: Tribute to Olu Obafemi at 70 Ukala, FNAL, fsonta, a, fANA, FCAI III. A Future Foretold in Leeds - Martin Banham IV. Tribute to our Ambassador and Symbol of Glory- Olu Obafemi - Sulyman Age Abdulkareem V. Professor Olu Obafemi: Epitome Of Nobility At 70 - Bayo Ojo, SAN VI. u Obafemi- Happy Birthday To Professor Ol A Man With Discernement at Even e Heavenlies Acknowledge - Dípọ Fágúnwà VII. i a - Francis Oisaghaede Professor Olu Obafemi: A Giant n n Atom Egbokhare, FNAL VIII. Olu Obafemi is a Wordsmith who Gently Encourages his Students - Lady Oluranti Odutola IX. - Olatunde AyodaboProfessor Olu Obafemi – An Elephant at Seventy X. Tribute to a Teacher and Mentor; Prof Olu Obafemi on His th - Olayemi Akinwumi70 Birthday Ceremony 663 631 645 656 665 670 677 679 682 686 689 693 696 698 700 702 705 xi XI. Tribute to an Intellectual Colossus in Literary and eatre Scholarship - Matthew Idowu Ajibero XII. Professor Olu Obafemi @ 70: Warm Greetings And Congratulations - Ayo Bamgbose, FNAL, NNOM XIII. Olu Obafemi, Scholar and Literary Activist - Ayo Banjo, NNOM, FNAL XIV. Olu Obafemi – A Rainbow in the Firmament - B. Olatunji Oloruntimehin, FNAL XV. - David Ker, OONGoing Past ese Milestones Together XVI. Olu Obafemi Sees the Funny Side of Every Situation; he Generates Humour - Godwin Sogolo, FNAL, fspsp XVII. - Elizabeth Dupe OjoA Tribute to a Brother who is Truly Loved , Ph.D XVIII. Tribute to a Great Man of Letters - Rev John Olusola Baiyeshea, SAN XIX. - Albert OlayemiProfessor Olu Obafemi: e ASUU Boy @ 70 XX. - Modupe ObafemiMy Man of Many Striking Colours XXI. Dad, Your Life is a Book - Morountodun Joseph XXII. My Senior Brother Like No Other – “e Olori Ebi” - Rev. S. Obafemi XXIII. Reminiscence On An Icon - A Living Legend - Pst. Obafemi Jide Michael XXIV. What is in a name? - Grace 'Tolu Dogara XXV. Happy birthday, Daddy! - Olusegun Obafemi XXVI. Professor Olu Obafemi – A Jolly Good Fellow - Shola Daniyan, FNIVS XXVII. - Wale Professor Olu Obafemi has a Gi of Innovative inking Okediran XXVIII. - Mallam Denja Eulogy For My Teacher, Uncle And Mentor @ 70 Abdullahi XXIX. It is never a Good bye, Olu Obafemi see you again and again and again! - Usman Oladipo Akanbi XXX. Tribute To Prof Olu Obafemi at 70 Years Birthday - th Hon (Dr) Hezekiah Obafemi 709 720 739 707 711 712 713 715 717 722 726 728 730 732 734 736 742 744 747 749 xii XXXI. Tribute To A Great Man Of Culture - HC. J.A Ikusemoro, JP XXXII. - Hon. It's a thing of Pride to be Associated to Professor Olu Obafemi Omonayin Rufus XXXIII. Olu Obafemi – A Worthy Man of Honor - Ayodele Paul XXXIV. Olu Obafemi - Choosing the Road Less Travelled - Sophia Isooyiza Sunnie-Ododo XXXV. Prof Olu Obafemi: Teacher, Scholar and Mentor - Olugbenga C. Ayeni XXXVI. 'is Bit I know': Olu Obafemi and the Executive Committee of the Nigerian Academy of Letters, 2015-2018 - Olutayo C. Adesina, FNAL XXXVII. Tribute to Professor Olu Obafemi FNAL, NNOM At 70 - Ogugua Charles Aworh FNIFST, FIAFoST XXXVIII. - Duro Oni, FNALOLU OBAFEMI @ 70 – A TRIBUTE XXXIX. Ode To e Butter�y that Powered the Whirlwind - Alex Chinwuba Asigbo, fsonta XL. - Josephine A Frame of Fortune and Fame – Olu Obafemi at Seventy Oyebanji XLI. Born To Lead (for Olu Obafemi) - Akachi Ezeigbo, FNAL XLII. Olu Obafemi – A Giant Iroko - Asabe Kabir Usman XLIII. Proudly Made by Olu Obafemi! - Abdul-Rasheed Na'Allah, FNAL XLIV. Roll the Drums for Omo Ajon* (A Chant for Olu Obafemi as he retires at 70) - Bakare Ojo Rasaki, fsonta XLV. - Tosin Tume Olu Obafemi: e Baobab Tree at ree Scores and Ten XLVI. that I know - Asimi Jimoh ElebiyoOlu Obafemi XLVII. - Riches Enessi Sunnie-OdodoOlu Obafemi is Immeasurable XLVIII. Tribute on Olu Obafemi - Abdullahi S. Abubakar XLIX. - AbdulRasheed A. AdeoyeOO as the Archetype of OOO L. A Tribute to Prof. Olu Obafemi - George C. Onwuchekwa 751 752 754 755 756 758 762 763 765 767 770 772 774 775 777 779 780 782 784 787 xiii LI. - Seventy Hearty Cheers To A orough-bred Academic And Mentor Muyiwa Awodiya LII. Olufemi Obafemi: An Inspirator And Good Fighter - Jare Ajayi LIII. Serenading on his coming of age - Professor Olu Obafemi Babajide Alo LIV. e Olu Obafemi land’, A well-calculated Humanist at 70 - Zakariyau I. Oseni LV. An Era is Coming to a Close - Femi Shaka LVI. ’s higher Pedestal is always accessible - Professor Olu Obafemi Victor Dugga, fsonta LVII. - An Open Well to fetch from - Olu Obafemi Tor Iorapuu, fsonta LVIII. Honour to whom Honour is due... - Nduka Otiono LIX. Obafemi’s Bookshelf has grown a forest of books - Patrick Obi LX. Celebrating a Mentor, Diplomat and Strategist at 70 - Emmanuel S. Dandaura, fsonta, MNAL LXI. - Andrew Professor Olu Obafemi: A Man of Immeasurable Value Haruna, MNAL, FLAN LXII. Olu Obafemi - Bigger than - ỌRỌGODOGÀNYÌN Sola Adeyemi LXIII. OLU OBAFEMI AT 70: (Or, Gambolling on Friendship in a Season of Plague) - Femi Oso�san, FNAL, NNOM LXIV. In the Shade of the Pragmatic, Fabian Socialism: for Olu Obafemi at 70 - Biodun Jeyifo, FNAL LXV. Professor Olufemi Obafemi: Showcasing A Creative Scholar - Toyin Falola LXVI. Olu Obafemi - e Onion Clove with Layers of Engaging Properties and Fragrance , - Sunday Enessi Ododo, fsonta FNAL Some Publications of/on Olu Obafemi Index Notes on Contributors 789 795 800 801 802 803 804 805 806 807 819 838 842 811 813 815 824 851 xiv 831 Foreword My �rst physical encounter with Professor Olu Obafemi was on the 6th of December, 2018 when I conferred on him the Nigerian National Order of Merit award. He gave a moving acceptance speech that highlighted the values of hard work, integrity and patriotism. My personal take from that brilliant speech is that with drive and good intentions, poverty cannot be a hindrance to our loy life aspirations. God has a way of rewarding our diligence, hard work and patriotism. e Obafemi story gives us hope that with proper values among citizens, the Nigerian society would fare better. I am however, convinced that there are many Obafemis out there who must be encouraged that their genuine commitment to nation building cannot be in vain; indeed, their hour of recognition will come one way or another. It is based on this thought that I want to further identify with that class of Nigerians who are honest, patriotic, hardworking and genuinely committed to the development of our nation by accepting to write this foreword. In doing this, I want to put on record my respect and genuine admiration for our intellectuals, scholars and technocrats. Clearly, these groups of people constitute the centre of genuine development of any nation and Nigeria will bene�t from their ideas, intellect and technical capacities. e book, Larger than his Frame II: Further Critical Studies and re�ections on Olu Obafemi brings together a range and variety of essays on the creative and scholarly works of Olu Obafemi and tributes and reminiscences, which I understand is a follow up on an earlier book of a similar title 20 years ago by the same authors, Duro Oni and Sunday Ododo, to celebrate Obafemi’s 50th (year) birthday. It appears that Obafemi, Oni and Ododo have a long working relations based on integrity, loyalty, commitment and understanding. If every segment of our society is so founded and xv guided, especially the political terrain, governance and its dividends would be more impactful. e essays, reviews, and interviews in this volume attest to Olu Obafemi as a scholar, intellectual and a creative artist who is socially inclined. Chief Bayo Ojo, SAN describes Obafemi as: “One relevant intellectual who has contributed immensely to bridging the gap between town and gown. As a venerated path�nder, illuminating guiding-light and mentor to very many young people, he has more than many of his contemporaries, made greater impact on national development and shaping of the society through the windows of human capital development, democracy and good governance as well as in shaping and in�uencing public policy.” is is an apt way to describe this gentleman of letters who has had a distinguished career and contributed immensely to nation-building, which has earned him numerous recognitions and awards within and outside the country. Professor Obafemi’s versatility and resourcefulness in the literary world as a poet, dramatist, translator and Professor of English, has been generously used to improve the administration of education in Nigeria. I commend his admirable ability to hold the mirror before society for corrections through his plays, poems and newspaper articles. In addition, Obafemi’s willingness to accept invitations for national service and make available his vast experience and wisdom is commendable, especially in strategic places like the National Institute for Policy and Strategic Studies (NIPSS), National Commission for Museums and Monuments and some of the nation’s universities. is book I believe will inspire many young Nigerians to aspire to greatness. I therefore recommend Larger than his Frame II to the reading public. It will enrich our scholarship and our history. Muhammadu Buhari President, Federal Republic of Nigeria 6 April, 2020 xvi Foreword xvii 1xviii 2 LAGER THAN HIS FRAME II – FURTHER CRITICAL STUDIES AND REFLECTIONS ON OLU OBAFEMI: AN EDITORIAL INTRODUCTION Twenty years ago, Sunday Ododo and I embarked on an ambitious project of editing a festschri in honour of Olu Obafemi at 50. It has been two decades since that project was completed and presented to the public. How time �ies! at publication which literarily and literally became an acronym for Professor Olu Obafemi was aptly titled Larger than his Frame: Critical Studies and Re�ections on Olu Obafemi. e publication was presented at the University of Lagos with Chief Bola Ige as Special Guest of Honour and Professor Jelili Omotola (the then Vice Chancellor of the University of Lagos) as Chief Host, while General David Jemibewon was represented by his Special Adviser. Unfortunately, both Chief Ige and Prof. Omotola are late; may their souls rest in peace. e �rst task this time around in planning another publication in honour of Prof. thOlu Obafemi to celebrate his 70 birthday was at arriving at a title for the new publication, which was quickly resolved as Larger than his Frame II: Further Critical Studies and Re�ections on Olu Obafemi. A pertinent question might arise as to why we considered it expedient to embark on a second collection of essays and tributes. For us, the sheer creative and critical productivity of Professor Olu Obafemi in the last twenty years more than justi�ed this new publication. A cursory look at Olu Obafemi's resume would at once convey a proportion of life just starting at �y! Since the �rst festschri, there are twenty-three more books published and/or edited, nine more creative writings in the same period and twenty-four more journal articles and chapters in books. Olu Obafemi's productive oeuvre has therefore continued to wax stronger as a playwright, novelist and poet in addition to By Duro Oni, Ph.D fsonta, FNAL Lager than his Frame II – Further Critical Studies and Reflections on Olu Obafemi: An Editorial Introduction 3 his academic writings. He has also maintained a string of writings in newspaper columns and public lectures as a public commentator. In addition to this and relevant to the number of tributes in this collection are the many positions that Professor Olu Obafemi has held in the twenty-year period following the �rst festschri. ese include his appointment as the Chairman of the National Commission for Museums and Monuments (NCMM), his election as the President of the Association of Nigerian Authors (ANA) and the Nigerian Academy of Letters (NAL), Chairman of the Reproductive Rights, and Director of Research at the National Institute for Policy and Strategic Studies (NIPSS), Kuru, Jos. Equally germane, and to which some of the tributes in this collection refer, are the many awards received by Prof. Obafemi, which were crowned in 2018 as the sole conferee of the Nigerian National Order of Merit (NNOM) by President Muhammadu Buhari at the Aso Rock Villa, Abuja. Other awards before then included the Fellowship of SONTA, ANA, and NAL. Olu Obafemi's prodigious creative and critical outpouring as well as the numerous appointments and awards he has enjoyed and received are eloquent justi�cations for the inevitability of this second festschri in his honour. Worthy of note, however, is that some of the essays in this publication were initially presented at a conference organized by Obafemi's parent Department of English at the University of Ilorin. In order not to dissipate resources, the Department, ably represented by Professors Charles Bodunde, Abdullahi Abubakar, and Mahfouz Adedimeji agreed for some of the essays from the conference to be integrated into the current work. For the current publication, we put out a call for papers for Essays and Tributes/Re�ections in honour of Olu Obafemi in August 2019. With the associated delays, Ododo was to pursue contributors to the essays while I was to reach out for the tributes, especially as most of the contributors to the tributes were of the older ilk. Essays were to be dedicated strictly to Obafemi's creative and scholarly works, public intellection and theatre practice. In all, forty-eight essays of diverse yet integrated intervention are included in this publication, �ve interviews, two book reviews, and sixty-six tributes, reminiscences, and poems. e array of tributes is from Obafemi's mentors, colleagues, former students, family, and associates. For Sunday Ododo and I, putting together an eight-hundred-page publication while traversing different continents and cities with contributors from around the world and in the midst of a global pandemic was quite a daunting task. At different Larger than his Frame II 4 stages of the publication, a regular question between both of us was, which part of the world or the country are you? For Ododo, it was the case of just arriving from the US or leaving Maiduguri for Abuja or on the way to Ilorin to later connect Winneba, Ghana from Lagos. In my own case, it was either I was on the �ight to China from the UK or just arriving Lagos from Doha. Or at other instances in Accra, Ilesa, Abuja, Benin or Ibadan. Somehow, we have pulled it through, thanks to interconnectivity of the world by emails and social media! While the global coronavirus pandemic caused its havoc which led to the postponement of the seventieth birthday celebrations, members of the Central National Committee of the Olu Obafemi at 70 comprising Professors Sunday Ododo, Charles Bodunde, Abdullahi Abubakar, and Mahfouz Adedimeji; and Dr. Sola Adeyemi, Mr. Yomi Adeboye and Dr. Todun Joseph with Duro Oni as Chairman continued our plans mostly working online, except for a meeting in Abuja facilitated by Professor Abubakar Rasheed. While we were feeling distressed about the postponement, our spirits were suddenly lied when President Muhammadu Buhari, GCFR graciously agreed to write the Foreword for the publication. Taking a cursory look at all the essays and tributes in this publication, it is obvious that Olu Obafemi, in spite of his much-touted Marxist bent, is an enigma who means different things to different persons and an eclectic writer whose works lend themselves to other hermeneutical lens and leanings besides the Marxist critical prisms. What follows are brief introductions to the chapters in the publication. ey only provide a little window into the papers and do not in any way substitute or summarize the papers. In Chapter 1, Sunday Enessi Ododo in his “Pro�ling Olu Obafemi the Master Builder” graphically outlines Olu Obafemi's biography, intellection, creativity and amazing contributions to nation-building relying on his (Ododo's) 38-year relationship with the subject of our publication in a generous 20-page write-up. Ododo's chapter is a formidable foundation upon which the delicate blocks of Larger than his Frame II are conveniently and beautifully laid. Almost in a similar vein but from a different perspective, Dele Adeyanju in Chapter 2 also pro�led Olu Obafemi in his “e Okun-Yoruba Factor in the Personality and Scholarly Exploits of Olu Obafemi” by examining the multi-dimensional personality of Olu Obafemi as a scholar, dramatist, poet, trade unionist and cultural ambassador. In Chapter 3, thin an article �rst published to grace Obafemi's 60 birthday, Kurt Eisen, using the staged reading and performance of Naira has no Gender at Tennessee Technological Introduction 5 University, toes the usual path of interpreting Obafemi's dramaturgy from a Marxist revolutionary stance in “Revolutionary drama and post-revolutionary drama in American and Nigerian theatres.” Yet, the essay is so fresh and inviting because of its comparative stance. While singing an old tune, it is with a new and fresh voice. In Chapter 4, deploying the New Historical criticism to Obafemi's Naira has no Gender and Ogidi Mandate and comparing them along an intertextual axis with other texts belonging to the same discursive formation in their “Nigerian Drama and National Unity: Olu Obafemi's Dramaturgy and the New Historical Criticism,” Duro Oni & Solomon Omatsola Azumurana demonstrated that beyond the Marxist/Socialist content, Obafemi uses his plays to advocate for the national unity of the Nigerian nation-state. AbdulRasheed A. Adeoye's contribution in Chapter 5 is another paper like Oni's and Azumurana's intervention that moves away from the usual Marxist interpretation of Obafemi's dramaturgy. In his “Posthumanism and the Posthumanist Prototypes in Selected Plays of Olu Obafemi,” Adeoye examines the main themes and tendencies of Posthumanism and the posthumanist prototypes in Olu Obafemi's Suicide Syndrome, Naira has no Gender, Scapegoats and Sacredcows, Dark Times Are Over (A Topical Drama) and Ogidi Mandate. In Chapter 6, x-raying Obafemi's plays in general in her “Identifying Symptomatic Elements of a Corroded Society in Olu Obafemi's Writings,” Oluwatoyin Olokodana–James asserts that Obafemi has contributed immensely to the growth of literature and theatre in Nigeria. To her, Obafemi's works serve utilitarian functions as they identify certain symptomatic elements of a decadent Nigerian society. Irene Agunloye's “e Soup wey e sweet na Money kill am”: Con�gurations of Power, Money and Gender Issues in Olu Obafemi's Naira has no Gender” is the essay that appears in Chapter 7 in which she interrogates the intersectionality of power, money and gender issues in the play. ough not without a Marxist-class oriented reading, the essay nonetheless moves away by adding a Feminist-gender dimension to its analysis. In Chapter 8, Barclays Foubiri Ayakoroma's “Critical Perspectives on ematic Issues in Olu Obafemi's Naira has no Gender” examines how money rules the lives of people under certain circumstances as portrayed through the various characters in the world of the play. Without out rightly indicating such, this is an essay that employs Obafemi's play to critique the money-conscious Nigerian society. In Chapter 9 “I will Marry him even if he is Poor: Deconstructing and Reconstructing the Yoruba Omoluabi Persona Essence in Olu Obafemi's Naira has no Gender” by Bode Ojoniyi, Olufemi Atoyebi and Olutola Osuolale Okewusi presents the Omoluabi persona ethics as a counter philosophical solution to corruption in Africa in the place of Marxism as represented in the play. us, the Chapter contribution insinuates that in addition to drawing on the Marxist tenets, which is Larger than his Frame II 6 Western-oriented; Obafemi also draws on traditional conceptual musings in craing his plays. In Chapter 10, travelling through the usual path of the socialist content in Obafemi's plays, Abdullahi Lawal & Ameh Dennis Akoh in their “Olu Obafemi's Vision of a New Social Order in Suicide Syndrome and Naira has no Gender” x-rays Obafemi's vision of a new social order in the two plays with the conclusion that he (Obafemi) succeeds in advocating for a socialist state through a mass revolution. But deviating from this interpretative path is “What's in a Name?” Onomastics and Characterology in Olu Obafemi's Naira has no Gender” by Mulikah Adeyemi Lawal in Chapter 11 of the Collection, which undertakes an investigation into the signi�cance of the names of characters in the play and focusses attention on the interplay between the names of characters and their roles in the literary work in relation to the thematic concern of the author. In Chapter 12, Dike Okoro inserts and locates Obafemi within a generation of dramatists in his “Visionary Commitment and Social Protest in Olu Obafemi's Naira Has No Gender” in which he examines the conceptual structures at play in Obafemi's dramaturgy by directly drawing on inherent representations from dramatists actively churning out plays in his (Obafemi's) generation. “Catching the Mirage: Olu Obafemi's Running Dreams and the Leadership Problematic in Developing Nations” by Sunday Enessi Ododo and Shadrach Teryila Ukuma is the paper that appears in Chapter 13 of the Collection. is contribution examines and captures the historical reality of Nigeria within the third world developmental strides and provides adequate suggestions on the developmental tools required to successfully rebuild the Nigerian nation-state as portrayed in the play. Like Ododo and Ukuma, Foluke Aliyu-Ibrahim analyses Obafemi's Running Dreams in Chapter 14 in her “Imagining Obafemi's Running Dreams as World Literature.” In this contribution, Aliyu-Ibrahim examines the play with a view to determining the playwright's stance in the controversy generated by the terms “African literature” and “world literature.” us, this is an essay that intervenes in the raging debate, especially among African critics in Diaspora, as to whether African creative works should be taught under its speci�c rubric as African literature or under the rubric of world literature. Also analysing Obafemi's Running Dreams and deviating from the Marxist/socialist content in Obafemi's play is Issa Omotosho Garuba's “e Dialogue of a Literary Artist with his Art: Creative Writing as Psychotherapy in Olu Obafemi's Running Dreams” in Chapter 15. In this contribution, appropriating the Freudian concept of the talking/writing cure, Garuba considers the writing process as a medium through which the playwright is Introduction 7 shedding his emotional turmoil on paper, and as an unconscious visionary and revolutionary dialogue of the playwright with his art as a form of psychotherapy. Chapter 16 is another essay that analyses Obafemi's Running Dreams though from a comparative perspective. e paper entitled “Africa Must Buy the Future: Strategies for Societal Transformation in Olu Obafemi's Running Dreams and Dark Times Are Over” by Ajibola Opeyemi examines the overt and the obscure strategies for development presented in the two plays with the conclusion that both plays re�ect Obafemi's deep yearnings for social transformation, not just in Africa but in every developing country in the world. Chapter 17 contains the �rst of the three linguistic analysis of Obafemi's plays in the collection, and the �rst of the interventions to focus on Obafemi's Scapegoats and Sacred Cows. Entitled “A Semiotic Reading of Olu Obafemi's Scapegoats and Sacred Cows” and written by Charity A. Angya, the contribution utilizes the semiotic concepts of icon, index, and symbol within the Peircean model in the analysis of the play in order to tease out the denotative and connotative level of meaning in the text. In Chapter 18, “Writing/Righting Moral Decadence in Nigerian University in Olu Obafemi's Dark Times are over” by Solomon Olaniyan & Gabriel Olaniyan interrogates the said play in order to establish how Obafemi through the medium of his play attempts to right the growing challenge of moral decay in the nation's universities. Dovetailing from the general to the speci�cs, the chapter contribution sees Obafemi's Dark Times are over as speci�cally a critique of the decadence in Nigerian tertiary institutions. e second of the contributions that draws on Obafemi's Scapegoats and Sacred Cows in its analysis is Olympus G. Ejue's “Amplifying the 'subversionary Directorial Style in Performing Olu Obafemi's Scapegoats and Sacred Cows on the Contemporary Nigerian Stage” in Chapter 19 of the Collection, which discusses hypothetically the use of a directorial style that would investigate histories of national atrocities with an artistic commitment to jettison mere aesthetic contemplation as an approach that rather interprets a play on stage than from the point of view of merely moralizing. Also excavating exempli�cations from Obafemi's Scapegoats and Sacred Cows, Saint E.T. Gbelekaa's “Power, Politics and Social Change in Olu Obafemi's Scapegoats and Sacred Cows” in Chapter 20 investigates the intersectionality of power, politics, and social change in the referenced play, particularly in the way and manner in which the power elites conduct themselves vis-à-vis the disempowered dramatis personae of the play, who are mainly the hoi polloi. In Chapter 21, Felix Damilola Emoruwa's “Artistic Bluntness and Functional Aesthetics' Performance Approach of Olu Obafemi's Scapegoats and Sacred Cows” also interrogated Larger than his Frame II 8 Scapegoats and Sacred Cows beyond the precipices of the popular “Fabulous eatre” dialectics as an experimental artistic construct that should be viewed more from “pure directorial poetics.” “Language Usage in Transcribed Songs of Olu Obafemi's Scapegoats and Sacred-Cows as Performed by English-Drama Students, Unilorin” that appears in Chapter 22 can be regarded as the second linguistic analysis of Obafemi's dramaturgy in the collection following Charity A. Angya's analysis in Chapter 17. Written by Victoria and Solomon Ikibe, the essay brings out the essence and the use of music in Olu Obafemi's Scapegoats and Sacred-Cows and goes further to transcribe and notate the songs used in the performance. In Chapter 23 Tosin Elijah Oje's “eatrical Musicality in Olu Obafemi's Scapegoats and Sacred cows” focuses more on the music in the play and the functions it performs vis-à-vis the structural analysis of the music using some selected songs which encapsulates the musical forms, melodic scale, instrumentation, rhythmic pattern and harmonic structure of the play. Ahmed Yerima's and Yemi Atanda's “Beyond Scuttled Dreams: e Antithesis of Social Con�icts in the Plays of Olu Obafemi” is the intervention that occupies Chapter 24 of the Collection. e essay engages the creative corpus of Olu Obafemi within the framework of the interpretation of his revolutionary, cultural and ideological understanding of his works, and also focuses on the dialectics of social constructs between the rustic and metropolitan spaces on the one hand, and the elites and the proletariats on the other with the associated rubrics of violence that shatter humanity. Chapter 25 contains the third of the linguistic analysis of Obafemi's plays in the Collection. Entitled “A Study of Proverbs and Gender Perspective in Olu Obafemi's Pestle on the Mortar” and written by Moshood Zakariyah and Mariam Titilope Gobir, the contribution reveals the sociolinguistic signi�cance of selected proverbs in Olu Obafemi's Pestle on the Mortar, and shows that proverbs are used to re�ect societal positions on certain issues Attributing to Obafemi's plays a more than national relevance and vision, Ogah Mark Onwe's “Symbolism and Sociocriticism in Olu Obafemi's Pestle on the Mortar” is the next article to appear in Chapter 26. It examines the symbolic nature of the play with the conclusion that it ponti�cates and proffers solutions to the social, cultural and political incongruities that characterize contemporary life in Nigeria and indeed Africa. In Chapter 27, “Premier Production of Olu Obafemi's Love Twirls of Adiitu and Iyunade: A Fabulist Assessment” by Abdullahi Salih Abubakar, appraised the premier production of the play using the Fabulous theatre aesthetics, a context-based theatrical theory which performance tenets reiterate the Introduction 9 African concept of synthesizing the terrestrial and empyrean through performance. e premier was performed at the University of Ilorin in 2016. Proverbial “ Intelligence and Satirical Socio-Prophetic Tendencies in Love Twirls of Adiitu and Iyunade and Pestle on the Mortar” by Itsewah Steve James in Chapter 28 deals with the socio-political, socioeconomic, religious and ethnic issues in Obafemi's immediate environment as depicted in the two plays. To James, Obafemi as a playwright has prophesied the future and proffered solutions in most of his plays. In Chapter 29 is “Scenic Design Motifs in Olu Obafemi's Love Twirls of Adiitu and Iyunade” by Adesina Adegbite, which focuses on the set and property designs of the play as revealed in the drama script, examining the role of �exible scenery as a method of ensuring a better understanding of its production. Coming on the heels of Adegbite's interrogation of the scenic design of Obafemi's Love Twirls of Aditu and Iyunade but from a totally different point of view is Florence Adedoja Elegba's “Drama and Social Change: A Study of Olu Obafemi's Love Twirls of Adiitu and Iyunade” in Chapter 30. e essay examines Olu Obafemi's preoccupation in the play which combines Brecht's epic theatre with the traditional African aesthetics to project his social vision and to advocate youth empowerment in the Nigeria society. e fourth of the linguistic analysis of Obafemi's play in this volume is “A Sociopragmalinguistic Analysis of Olu Obafemi's Love Twirls of Adiitu and Iyunade” by Joyce Emuchay, which appears in Chapter 31. e contribution is a discussion of the expressions of the theme of love and friendship in the play which is squarely s i t u at e d i n Yo r u b a s o c i o l i n g u i s t i c pu r v i e w, u s i n g t h e d e v i s e d sociopragmalinguistic theory. Occupying Chapter 32 is “Scenographic Conception and Dramatic Action in Olu Obafemi's Plays” by Sunday Enessi Ododo and Musiliyu Sanni. As denoted by the title, the paper examines scenographic conception and dramatic action in three of Olu Obafemi's plays: Love Twirls of Adiitu and Iyunade, Nights of a Mystical Beast and Ogidi Mandate as paradigms that establish an interconnectivity between the scenographer and the playwright. “Engaging Rhetoric and Dialogue with History in Socio-political Climate of Nights of a Mystical Beast by Olu Obafemi” is the contribution in Chapter 33. Co-authored by Yemi Atanda and 'Lanre Agboola, the essay examines political rhetoric, using the social psychological theory to explicate the history, democracy and alternative transformation agenda for upliing the nation towards the set agenda of Vision 2020. In Chapter 34 is “Olu Obafemi: e Dramatist as the Conscience of the Nigerian State” by Bosede Funke Afolayan. e chapter examines the role of Olu Obafemi as a dramatist in Nigeria focusing on his plays: Nights of a Mystical Beast and Suicide Syndrome. To Afolayan, Larger than his Frame II 10 the Nigerian state depicted in the two plays is one that is riddled with moral decadence, corruption, embezzlement, oppression and exploitation of the poor. “Death Not a Redeemer: Resistance instead of Suicide in Olu Obafemi's Suicide Syndrome” by Cornelius Eze Onyekaba takes its seat in Chapter 35. e analysis explores the skilful way Olu Obafemi has used the tools of the Epic theatre to achieve a remarkable and noteworthy outcome while establishing through many of the actions in the six movements that constitute the play that suicide is oen tied to the prevailing socio-economic conditions of people at a given time. In Chapter 36 is “Subaltern Narratives and Socio-political Pageantry in Olu Obafemi's Suicide Syndrome” by Oludolapo Ojediran, Olayinka Magbagbeola and Olubukola Kehinde, which as denoted by the title examines the play as an exempli�cation of Subaltern narratives and socio-political pageantry with the submission that the Brechtian style adopted by Olu Obafemi in the play has proven to be very valuable to the interpretation of the play-text. “Marxism in Critical Discourse – An Example of Obafemi's e New Dawn” by M. S. Abdullahi- Idiagbon and Iyanda Olanrewaju in Chapter 37 is the only contribution in the Collection that analyses Obafemi's e New Dawn. Travelling through the obvious axis of Obafemi's Marxist orientation, the authors in their reading of the play see it as a mirror to contemporary society highlighting the social inequality between the bourgeoisie and the proletariat which is traced to the property relations in the society where those who till the land are not the ones enjoying its fruits. In Chapter 38 is another contribution in the collection that stands alone in its analysis of Obafemi's Songs of Hope, his �rst collection of poems. Entitled “Olu Obafemi as a Metaphorist: A Study of Songs of Hope, and written by Olaniyi Oladimeji, the paper makes an attempt to study the metaphors in the play with the intention of assessing the effective creative force in his use of language as a sign of ingenuity. As in Chapter 38, “Oral Texture and Communal Vision in Olu Obafemi's Wheels” by Reuben Kehinde Akano in Chapter 39 also stands alone as the only submission that analyses Obafemi's Wheels, which the author analyses as a narrative that draws the attention of the reader to the social ills that permeate the polity, tracing the cause to the corrupt tendency of the ruling elite and their cohorts. Another contribution that spares time and space in the reading of Obafemi's poetry is “e Musicality of Olu Obafemi's Illuminations: Songs, Dances, from the Belly of Time as a Performance Poetry” by Oluwatosin John Ibitoye in Chapter 40. Establishing the well-known convergence and conceptual blend between music and poetic lines, the essay reveals how Obafemi exempli�es this phenomenon in his collection under focus. “Out of the Woods with African Poetry: A Critical Introduction 11 Appreciation of the Aesthetics of Discourse in Olu Obafemi's Poetry” by Abubakar Othman in Chapter 41 is the third intervention in the Collection that engages in the reading of Obafemi's poetry. Relying on the concept that identi�es poetry as an aesthetic mode in which old forms constitute active residual patterns, the chapter investigates how Obafemi manipulates such residual elements of culture as aesthetics of discourse in his poetry. In Chapter 42 is “Omo Ajon and the Joint Task of Nation Re-building” by Gbemisola Adeoti, who asserts that what predominates in Obafemi's works is communitarian aesthetics achieved through a fusion of Brechtian epic theatre indices and elements of African total theatre. As such, music, dance, story-telling, suggestive actions, multiple role-playing, allusion, digression, rapport between the stage and audience participation and other anti-illusionistic devices are deployed as artistic strategies. e fourth in the Collection devoted to the reading of Obafemi's poetry is “Reminiscence of Repressive State and Political Negotiation of Death in Olu Obafemi's 'e Terror in Dark Hollow-frames' in Illuminations: Songs and Dances from Belly of Time” by Kadir Ayinde Abdullahi in Chapter 43. e Chapter focuses on how Obafemi's “e Terror in Dark Hollow- Frames” is poetically deployed to delegitimize the military state in the face of oppression and terror tactics and argues that Obafemi expands his range of poetic expressions without sacri�cing his visionary ideology. Concluding the essays in the Collection is “e Poet as Dramatist: Paradigm of Olu Obafemi's “e Do Gooders” by Anthony A Obaje in Chapter 44, which assessed Olu Obafemi the poet as a dramatist by exploring the synergy between poetry and drama and Obafemi's prowess in exemplifying the aspect of drama in poetry in the poem studied. In addition to the 48 essays, and apart from the tributes, are �ve interviews and two book reviews. What follows, therefore, are the four interviews with Prof. Olu Obafemi which touch on different aspects of his life, work and engagements by various scholars and associates; and the two book reviews of the works of Obafemi by Femi Ademiluyi and Mabel Evwierhoma. e �rst of the interviews is by Tunde Olusunle, which he entitles “Olu Obafemi and Socio-Radical Dialectics: A Dialogistic Engagement.” In conversation with a multivalent, multi-talented and versatile all-round creative writer, theatre activist, intellectual, journalist and critic, the interview attempts an overview of the gamut of Obafemi's career, especially his ideological dialectics as a creator, scholar and public intellectual over the last four decades. e second is by Foluke R. Aliyu-Ibrahim conducted in 2017 and simply entitled “A Running Conversation with Olu Obafemi.” e interview session started with Larger than his Frame II 12 questions about Obafemi's plays from 2005 with Dark Times Are Over? While the theme and form did not seem different from earlier plays which serve as criticisms against the corruption that was allowed to invade every sector of life of the country, the implication of university students as agents of corruption was novel. “e interview with Prof Olu Obafemi at 70” by Sunday Ododo, Nwagbo Pat Obi, Olayinka Magbagbeola and Stephen Okpadah is the third in the Collection. Conducted in February, 2020, the interview bordered on Obafemi's role as a teacher, playwright, novelist, poet, stage director, dancer, singer and columnist among many others. e roles of Obafemi as President of the Association of Nigerian Authors (ANA), as Chairman of the National Commission for Museums and Monuments (NCMM) and as Director of Research at the National Institute for Policy and Strategic Studies (NIPSS) also came up. e last but not the least is Charles Bodunde's “Interview with Professor Olu Obafemi, Distinguished Scholar and Creative Intellectual.” e interview focused on literary discourse and interdisciplinary exchange with extensive discussions on eatre in the Ivory tower and in town, border crossings and violations, role of critics and Africa ird World literature. e �rst of the book reviews is “A Review of Public Mediation and Society by Olu Obafemi” reviewed by Femi Ademiluyi. e 18 chapter, 460-page work covers topics as diverse as language and democracy; literature and sustainable development; and �nancial policy formulation and the national question with a central theme that all it takes for tyranny to triumph in any society is for the writers and men of culture to keep silent. e second is “Olu Obafemi 1950 OE: Divinely Creative Mysteries in the translation of D.O. Fagunwa's Adiitu Eledumare as e Mysteries of God” – Book Review” by Mabel Evwierhoma. e choice, according to the reviewer, is borne out of a personal recognition that indeed life is full of inscrutable ambiguities that oen leave humankind speechless or depict an awesome lack of capacity to unravel them. e ten-chapter book of voyage into the meaning of life re�ects Obafemi as a student of life and reveals his scorecard in this instructional space called life. Concluding this Collection are the array of tributes from Olu Obafemi's mentors, colleagues, former students, family, and associates. e sixty-six tributes have three poems by Professors Akachi Adimora-Ezeigbo, Asabe Kabir Usman, AbdulRasheed Na'Allah while that of Dr. Josephine Oyebanji is a hybrid of poetry and prose. A preponderance of Fellows and Members of the Nigerian Academy of Introduction 13 Letters features prominently in the tributes. ey include Professors Emeriti Ayo Bamgbose, Ayo Banjo, Martin Banham, Femi Oso�san, Benjamin O. Oloruntimehin, Professors Francis Egbokhare, Biodun Jeyifo, Toyin Falola, Sam Ukala, Godwin Sogolo, David Ker and Andrew Haruna. Vice-Chancellor of the University of Ilorin, Professor Sulyman Age; Chief Bayo Ojo, SAN; Rev John Baiyeshea, SAN; Muyiwa Awodiya; Abdulrasheed Adeoye; Dr. Wale Okediran and Messrs Diipo Ajayi, Denja Abdullahi and Olu Obafemi's wife and children also wrote tributes among others. Also included in this publication is the Acceptance Speech by Prof. Olu Obafemi on his conferment with the award of NNOM. Images of Olu Obafemi's publications also adorn the last few pages of the publication. Larger than his Frame II 14 NIR NE GV BO OG A RE DH T The Presidency Nigerian National Merit Award President Muhammadu Buhari conferring the 2018 Nigerian National Order of Merit (NNOM) on Professor Olu Obafemi. 6th December, 2018. Olu Obafemi, FNAL, NNOM e Sole Recipient, Nigerian National Order of Merit, 2018 is Humbling Journey through 15 Your Excellency, the President and Commander-in-Chief of the Armed Forces of the Federal Republic of Nigeria, Muhammadu Buhari, GCFR. Your Excellency, the Vice President, Professor Yemi Osinbajo, GCON, Secretary to Government of the Federation Chief of Staff to the President, Head of Service, Members of the Federal Executive Council. e Executive Governor of Kogi State, Chairman and Members of the Governing Board, the Nigerian National Merit Award, Laureates of the Nigerian National Order of Merit, My beloved Wife and Children, Ladies and Gentlemen. Gratitude is a noble instinct which I exhort and hereby explore to express profound gratitude to your Excellency for accepting the decision of the Board of the Nigerian National Merit Award to confer this Award of the Nigerian National Order of Merit 2018 on me. Similarly, I offer profuse appreciation to the Board itself for �nding me deserving of the Award. I must say that I do not take the honour for granted at all, considering the number of nominees from among whom I was picked for the This Humbling Journey through Life By Olu Obafemi, Ph.D (Acceptance Speech of the Nigerian Order of Merit (NNOM) Award, 2018) In October 2018, the Governing Board of the Nigerian National Merit Award (NNMA) declared Prof. Olufemi Obafemi as the sole recipient of the Nigerian National Order of Merit (NNOM) in the Humanities for 2018. is is the acceptance speech during the 76th investiture of the award on 6 December 2018 at the Council Chamber of the Presidential Villa, Abuja. 16 Award. It compels me to take a deep re�ection on how I arrived at this point in life. Your Excellency, the story of my life's journey provides instruction on the value of merit in the attainment of possibilities for individuals, groups and societies. In the early years of the 1960s, I gained admission into two missionary-run colleges in the then Kabba Division in today's Kogi State. e fees of the institutions were simply beyond the means of my parents who were a peasant farmer and a food vendor. I had to wait till the following year when I passed the Common Entrance Examinations and gained admission into one of the Northern Nigerian government's Provincial Secondary Schools, sited, equitably, in the Fourteen Provinces of the Northern Region. Even at that, the relatively small school fees of irteen pounds a year could only be paid aer my father had sold his cocoa/coffee plantation and my mother the �nest of her few clothes. It was not until the third year when, by government policy, the Provincial colleges in the region became full-�edged Government colleges, that my parents were marginally able to sponsor my Secondary education with less hardship. is was because a policy had been enacted to make fees relatively favourable to the children of the poor – who paid fees as low as ree pounds – while the children of the well- to-do and civil servants paid up to Fieen and Twenty pounds. When it was time for me to go for the Higher School Certi�cate (HSC) programme, a family decision had to be taken for my sister to stay back for me to move on, with the expectation that on completion of my course, I would train my other siblings through school. My father, a non-literate intellectual with an unquenchable thirst for education for his children, was condemned and scorned by his peers for insisting on my further schooling, rather than throwing me into the labour market as they all did. As it turned out, the ECWA missionaries who owned the Titcombe College, Egbe, had a scholarship scheme for the best HSC student every term. is was how I was able to complete the remaining �ve terms without my parents paying a dime. My undergraduate and graduate studies were �nanced through the Kwara State Government Scholarship and the University of Ilorin Staff Development Schemes. Two critical lessons emerge from this narrative. One, that with good educational policies combined with merit, the children of the poor with humble and lowly parentage can rise to stand before the President to receive the Nigerian National Order of Merit, the highest honour and recognition is Humbling Journey through 17 for 'academic and intellectual contributions made by citizens of Nigeria'. Two, as government is clearly aware, education is the foundational tool for national development in a knowledge-driven world and deserves to be given priority attention. Happily, this government recently declared a state of emergency in the educational sector in the country so that education can regain its pride of place in the nation. A combination of good Mission, Regional, State, and Federal educational policies of the sixties and seventies opened access and opportunities to any quali�ed pupils and students to obtain sound education. Merit alone, a system of recognition and reward based on excellence and worthiness, shorn of all sentiment and prejudice, and run by a Board of eminent and seasoned intellectuals and scholars on behalf of the Federal Government, has produced the NNOM laureates seated here today. is has affirmed my conviction that merit is a veritable credo of governance. I thus propose that it is forever good to stick to what is just and right. Your Excellency, what remains is for our governments to adhere to the Merit principle as the objective condition for national transformation. As a humanist, I harbour Utopian ideals (in our stories that I tell) for my country for Meritocracy as an ideology of governance. A merit-based democracy will take the nation away from desperation and exasperation to renewed inspiration, aspiration and genuine national patriotism. Since political independence, our governments have never suffered from policy de�ciency. at explains the reason for establishing the Nigerian National Merit Award. at was also why the National Institute for Policy and Strategic Studies was erected; both institutions established nearly four decades ago – to hold sound, knowledge-based discourses to etch policies on the various aspects of nation building and national development. Your Excellency, what has been in de�cit is the political will to deploy the requisite strategies for policy implementation for national reconstruction and transformation. Your Excellency, with the Change philosophy of your government, added to your proverbial and nation-wide personal reputation for integrity and commitment to national development, peace and national security, the time is now to utilize the merit inherent in these institutions and other similar institutions in this potentially great country, with the bubbling energies of its teaming youths, whose future depends on today's envisioned governance. It is time for us to encourage inclusive and open participation space for the production, distribution and exchange of the Larger than his Frame II 18 nation's mammoth endowments – material and ineffable – in order to take the nation to where it can, and should be, as the country on whose shoulders the destiny of the Africa continent rests. On this pragmatic aspiration, Your Excellency, I accept, most humbly and with profound appreciation, this covetable honour, on behalf of the numerous other highly merit-driven innovators, creators and inventors in the service of our nation. Finally, Your Excellency, permit me to dedicate this award to my family, the immediate as represented here by my wife and children, and to my larger family of teachers and mentors, living and deceased, as well as all students who have crossed my path in the nearly �ve decades of my academic and intellectual journey – without whom I will not be here today. ank you, Your Excellency. Long live the Federal Republic of Nigeria. Olu Obafemi, FNAL, NNOM is Humbling Journey through 19 20 Essays 21 22 By Sunday Enessi Ododo, Ph.D fsonta, FNAL Profiling Olu Obafemi the Master Builder Introduction It is an uncommon privilege and honour to pro�le Professor Olu Obafemi as he turns 70 and set to retire from active university employment at the University of Ilorin. For 38 years, I have been closely associated with Professor Obafemi as his student at the undergraduate and doctoral levels at the University of Ilorin where he started his teaching career and still currently serves. I was also a founding member of his semi-professional eatre Group, Ajon Players, where I acquired and honed additional skills as a performing arts and literary student in training. As a distinguished journalist and creative writer in the multiple genres of drama, prose and poetry, he ignited in many of us, who are today notable names in literary and journalistic circles, the interest to write and also helped us to grow as writers. As a well-known public intellectual and global scholar in literature, drama and theatre practice, Professor Obafemi's critical thoughts have helped shape the aesthetics of modern African drama and literary discourse. Furthermore, I had the opportunity to work with him as a younger colleague for over �een years at the University of Ilorin and was on the �eld with him on many of his research trips and cultural engagements. I also served as a member of his executive committee as the President of Nigerian Academy of Letters (NAL), the apex Academy for the Humanities in Nigeria. I believe this preliminary information stand me in good stead to pro�le thProfessor Olu Obafemi for an auspicious book to celebrate his 70 birthday. Olu Obafemi is a distinguished scholar with high yielding creative enterprise and productive theatre practice, which among others, include university education in Africa and Europe (ABU, Zaria; Sheffield; and Leeds); 30 scholarly books, 17 creative works cutting across the three genres of literature: drama, prose and poetry (including his JP Clark/ANA award winning drama – Ogidi Mandate); scores of 1 23 scholarly essays, monographs, reviews, public presentations and newspapers columns of countless articles; 41 respected awards, honours and recognition amongst which are: Commonwealth Fellow, University of Leeds, Newswatch, Who's Who Roll of Honour, DAAD Study Fellowship, Bayreuth University, Germany, Cambridge Contemporary British Writing Fellowship, International Visitor Program of the United States Information Agency, Man of the Year 2004 Award, International Board of Research, American Bibliographical Institute, Inc., Fellow, Society of Nigeria eatre Artists (SONTA), Fellow, Association of Nigerian Authors, Fellow, Nigerian Academy of Letters, Fellow, Nigerian English Scholars Association, and many more. e crowning glory is being the sole recipient of 2018 Nigerian National Order of Merit (NNOM) which was personally conferred on him by the President of the Federal Republic of Nigeria, Muhammadu Buhari. It is noteworthy that these stellar academic and literary achievements do not in any way intoxicate the moral and humane bearing of Professor Olu Obafemi, rather he remains unassuming with disarming humility and genuine commitment to serve humanity and li up mankind for positive and enduring self-ful�lment and the collective advancement of Nigeria, our fatherland. Described by the late Professor Samuel Asein as a “great masquerade with delightful measured and practised steps in the various creative arena” (Oni and Ododo, 2000:xiv), Olu Obafemi as a playwright, poet, novelist, scholar, critical thinker, teacher, essayist, dancer, songwriter, translator and public intellectual, is an embodiment of moral courage who boldly interrogates social injustices in our nation and builds bridges of peace across cultures for our common humanity. All considered, Obafemi's humane disposition endears him to all social strata and his intellectual erudition positions him as a valuable asset in any knowledge-driven environment and enterprise. He typi�es the noblest of Nigerian ideals: compulsive industry, creativity, drive for excellence and an indomitable spirit to overcome any challenges. Indeed, Professor Obafemi represents that class of Nigerians with abiding faith in the positive fortunes of Nigeria. He has been absolutely resolute in his conviction to sel�essly serve his fatherland and has remained in Nigeria at a time when many of his contemporaries abandoned the Nigerian project to seek greener pasture elsewhere, in spite of numerous attractive opportunities to do so. He is patriotism personi�ed. Professor Olu Obafemi's Pro�le Sketch Olufemi Obafemi is a Nigerian, born in Akutupa-Bunu, on 4 April 1950 to Pa Emmanuel Obafemi and Ma Hannah Omorewo Obafemi. He attended Methodist Larger than his Frame II 24 Primary School, Kabba, Kogi State between 1956-1963. He gained admission to St Augustine College Kabba in 1964, but he could not attend due to poverty. It was a year later that he then gained admission into Government Secondary School Dekina, and �nished in 1969. Aerwards, he went to Titcombe College, Egbe from 1970-1971, where he gained the College Scholarship as (the) best student in his class throughout his stay in the college. He obtained his Higher School Certi�cate (HSC) with three A Level passes with a Grade A in History which was adjudged the best result in Northern Nigeria in 1971. He proceeded to the prestigious Ahmadu Bello University (ABU) where he earned a BA Degree in English with Second Class Upper Division in 1975, which was also the best result in his cohort that year. He aerwards moved to Europe to expand his frontiers of knowledge at the University of Sheffield, where he obtained an MA degree in English Literature in1978 with a dissertation titled “Nigerian Writers and the Nigerian Civil War”; and a PhD in English with specialization in Dramatic Literature from the University of Leeds under the supervision of the world acclaimed theatre icon, Martin Banham, in 1981. It was in Zaria and Leeds that Obafemi honed his skills in drama and theatre production to fruition. According to Banham, the times Obafemi spent in Leeds enriched their understanding of African theatre and greatly informed the work of both staff and students. Of particular impact was Olu's production of his play Naira has no Gender, which I am proud to say, had its premiere in the Workshop eatre at Leeds in March 1990, a time when Olu was with us as a Visiting Fellow. (Oni and Ododo, 2000:25) Obafemi's doctoral engagement in Leeds produced his most engaging seminal work which also gave African radical theatre a critical identity and interpretative pathways for theatre critics and dramatists. Contemporary Nigerian eatre: Social Vision and Cultural Heritage is that famous work, which has remained very extant in contemporary radical theatre discourse to date. He returned to Nigeria to take up appointment at the University of Ilorin immediately aer his PhD, not only to teach drama but to also practice theatre. Immediately, he formed the Ajon Players in 1981, a semi-professional theatre group as theatre laboratory to train young and enthusiastic emerging artistes and to animate his theatrical pieces. Obafemi's voice, in Banham's view “has always been one of radical concern, compassion and intellectual honesty. ese elements shine out of Naira has no Gender and its author's distinguished contribution to the theatre of Nigeria” (Oni and Ododo, 2000:27). When in 2000 I co-edited a work with Duro Oni to celebrate Olu Obafemi at 50, we titled it “Larger than his Frame” to capture his multi-faceted life, enormous zeal and Pro�ling Olu Obafemi the Master Builder 25 sheer productive capacity when compared to his 'compressed' physical frame. To be sure, Obafemi is multi-talented and he is a many-sided personality. We have Obafemi the teacher, the scholar, the actor, the director, the unionist (he was Chairman of the Academic Staff Union of Universities (ASUU), Unilorin Chapter), the Newspaper columnist, the cultural, social, and intellectual property rights activist and many more. His strength resides in the fact that he expresses himself eloquently in all these enterprises. At every level of his development, he has le his mark. His academic records can be harvested by interacting with his numerous class or school mates. What you hear are: 'Mr. English', 'Journalist', 'Perm Sec', 'Orator', etc. – all of which are accolades referencing his outstanding scholarship and versatility. From Kabba to Egbe, Zaria, Sheffield and Leeds, it has been a success story of enviable or unbeaten records and landmarks. According to the late Professor Sam Adewoye, “Olu's success has to do with his determination, innovativeness, resourcefulness, dynamism, hard work, Spartan courage, amiableness, vibrant articulacy and above all his adventurousness” (Oni and Ododo, 2000:23). On the road from youth to manhood, Obafemi certainly accomplished the two principal strides of self-de�nition: to become aware of his ego and to have integrated and immersed this ego in the community. Youth ceases with egoism and old age sets in when we begin to live for others, they say. Obafemi's contributions to his intellectual and social space is enormous. As a sound academic of international repute, he has given certainty and encouragement to many in his �eld and has added meaning and purpose to their lives. He has also enabled some great minds of tomorrow to mature; I am one of such personalities. e mature man's task is to give himself away or as the German mystics say, to 'unbecome'. Before a man can sacri�ce his personality to humanity, he must become a complete man. Olu Obafemi is one such personality; an incombustible mix of charm and intellect. A master of English language. On communal integration, Obafemi is “fully integrated into his home community”. As Jide Maye, an outstanding Kabba elite testi�ed. At home, Obafemi is a total “son of the soil”; a man with a �rm root. He is homely with his people. He is proud of his native dialect of Okun and speaks it with �awless eloquence. e cultural heritage and values of his people have had a great impact on his artistic creations. His theatre group, Ajon Players, for instance, is named aer a heroine, Ajon, who was the �rst wife of the �rst king of Kiri people called the Olukiri of Kiri (King Aseje). It was her role in ensuring the ascendancy of her husband that led to the creation of the Olukiri dynasty. Ajon festival was instituted in her memory for her act of courage and matrimonial commitment. Obafemi oen �nds creative reasons to draw Larger than his Frame II 26 parallels between the two Ajons: during his inaugural lecture at the University of Ilorin in 1997, he brought the 'Source Ajon' from Akutupa to perform side by side with the 'Meta-textual Ajon', i.e the Ajon Players. e Scholar-Dramatist as Teacher, eatre Trainer and Mentor Undoubtedly many generations of students have passed through Olu Obafemi not just in Africa but also in Europe and America. e classroom and the theatre stage have been his major teaching and training platforms. In addition, he mentors his students within and outside these platforms. Testimonies abound from his former students on the quality and adequacy of his teaching, training and mentoring. Adavi Abraham, an erstwhile Permanent Secretary with the Kogi State Government says: I consider him as a teacher with adequate mastery of the English Language… he is a generous, kind and gentle hearted man. I can vividly recall some people he gave �nancial, moral, academic and fatherly assistance to. Some of these folks are even doctorate degree holders and university scholars today (Oni and Ododo, 2000:39). Tunde Olusunle, a former Special Adviser to President Olusegun Obasanjo, sees Obafemi as “a combination of sartorial simplicity, collegial amiability and intellectual sophistication” (Oni and Ododo, 2000:62). He recalls that whereas many students would rather skip the classes of some lecturers because of the dull, dour manner of the conduct of their lectures, Obafemi's classes commanded maximum attendance. e scholastic depth which issued forth from his delivery as evidence of consistent and rigorous research and the up-to-date vistas in contemporary discourse, made his classes a memorable experience. He adds: “his deep sense of humour, his genial laughter, his verbal somersaults couched in the dictum of radical oratory and of course his bouncy gait, and frequent gesticulations, when he stands before the classroom to teach, and you have the quintessential Obafemi” (Oni and Ododo, 2000:63) . Beyond being a teacher, Obafemi is a creative writer, critic, dramatist and theatre director. He founded and funded the Ajon Players, a semi-professional theatre company which drew its membership from students, university lecturers, non- academic staff and theatre enthusiasts from within and outside the university community. To a remarkable extent, Ajon group facilitated intellectual and artistic interactions among the students' members. Indeed, many of the plays performed were on the academic syllabi. Performance therefore facilitated deeper comprehension of the texts and their dramaturgy. Femi Oso�san's Morountodun and Once Upon Four Robbers, Bode Sowande's e Night Before and Afamako, and Ngugi wa iong'O's I Will Marry When I Want, are some of the memorable Pro�ling Olu Obafemi the Master Builder 27 performances apart from Obafemi's many plays that the group premiered. Ajon eatre Group was also on wheels with very busy itinerary to major cities in Nigeria. Abroad – in Europe and America, Obafemi drew his cast from multicultural sources (White, Black, Latino, Asian, etc) as Martin Banham notes. Obafemi's theatre production philosophy is what I described as the “Collectivist eatre Approach” (Oni and Ododo, 2000:324). It is an approach in which everyone with talent gets a chance to express it. Creative responsibilities are shared amongst all, and not over concentrated in the hands of a few. is approach gives every member of the group the opportunity to learn, grow and lead too. is precisely is the uniqueness and strength of the Ajon Players. It is a good mix-bag of membership and management structure. At the last count, 1,854 students have passed through the creative furnace of Ajon Players. A good number of these are either theatre practitioners or theatre scholars today. For over four decades, Obafemi has led a competent career in instruction and mentoring; moulding and shaping young minds for the nation. He started his teaching career at the University of Ilorin as a teaching Graduate Assistant in 1976 and was a foundation staff of the Department of Modern European Languages (now Department of English). He rose through the ranks to become a Professor of the University of Ilorin in 1990 at the age of 40. Beyond serving the University of Ilorin, he has been of service to many universities across the globe either as Visiting Professor or Resident Professor. Some of these are Workshop eatre, University of Leeds, England (1989-1990) teaching M.A. eatre Studies, African eatre Option, Co Supervision of PhD; University of Bayreuth, Germany (1993, 1995 & 1996); University of Lagos (1999–2000); Tennessee Technological University, Cookeville, U.S.A. (Feb.-March 2005), and Visiting Professor, Ahmadu Bello University, Zaria (2014-217); Resident Professor of English, African American Studies and eatre Arts, Western Illinois University, Macomb, U.S.A (March-April 2005); Guest Lecturer/Speaker at the Cambridge University, University of Oxford, North Carolina University, and the University of Limpopo, South Africa. Obafemi has also led many NUC Accreditation panels to accredit universities in Nigeria. He also assessed the works of many scholars who were promoted to the ranks of Reader and Professor. Over the decades, Professor Obafemi has served as External Examiner at different universities in Africa, including, the Chancellor College, University of Malawi, Bayero University, Kano, Obafemi Awolowo University, Ile- Ife, Creative Arts Dept. University of Lagos; and University of Ibadan. He also served as Consultant to West African Examinations Council and Chairman, Moderation Panel, JAMB (English). He taught classes in “African Drama”, “African literature”, “literary theory and criticism”, “indigenous theatre” and “creative Larger than his Frame II 28 writing”. From 1978 to date, Obafemi has supervised over 200 undergraduate BA Long essay-projects; supervised over 40, MA students in English at the University of Ilorin from 1983 to date, and solely supervised 14 and co-supervised 4 successful PhD theses. Professor Olu Obafemi has been quite a lucky teacher, theatre director and mentor, who can look back and thank God for the steady progress his former wards have made in their various callings. Some are Professors (including this writer), Justices of the High Court, Film producers, and top-notching government and private sector officers today. Besides these testimonies and testaments on Obafemi's character and personality as a teacher, theatre practitioner and mentor, he is held in high esteem by his colleagues, contemporaries, and his generation of writers and scholars, which include Femi Oso�san, Biodun Jeyifo, Niyi Osundare, Bode Sowande, Kole Omotoso, Tanure Ojaide, Ropo Sekoni and Tunde Fatunde. Olu Obafemi is vast in knowledge, profound and alert in his domain of scholarly interest, especially Drama, eatre and Literature. is is why he is still very much sought aer all over the world. Administration, Unionism and Political Activism Indisputably, Olu is a multi-dimensional personality. In his blood and veins, we have the unionist, the strong and sometimes enigmatic literary intellectual, the administrator, or if you wish, an adept politician, a solid social critic, a creative writer and a staunch lover of the Arts in all its rami�cations (Efurosibina Adegbija in Oni and Ododo, 2000:41). As a University administrator, he has served in many capacities, including being Head of Department of Modern European Languages, University of Ilorin; Dean of Students Affairs; Chairman, Ceremonials Committee; Director of Research, National Institute of Policy and Strategic Studies (NIPSS), Kuru, Jos; Chairman, Governing Board, National Commission for Museums and Monuments (NCMM), etc. Under his headship, the Department of Modern European Languages commenced postgraduate programme, which has produced many quality scholars and technocrats today. As a scholar who is also committed to the growth of his profession and passion for the creative industries and the arts, he has offered remarkable and memorable service to some of the professional associations and bodies he belongs to. He was the founding chairman of the Association of Nigerian Authors (ANA), Kwara State Chapter (1992-96) and later became the National President of ANA for two terms. Amongst other achievements, he expanded and made ANA literary awards more attractive by partnering with key corporate bodies that handsomely endowed prizes, for example the Niger Delta Development Pro�ling Olu Obafemi the Master Builder 29 Commission (NNDC) and Chevron. Also, aer being Vice President for two years, he is the current President of the Nigerian Academy of Letters (NAL), the highest intellectual body of scholars in the humanity in Nigeria. His leadership of NAL invoked a lot of far reaching administrative reforms by re-engineering and evolving more critical engagement in nation building. Besides, he has served two terms in the Governing Council of the University of Ilorin as well as being on the board of many academic journals. He has had twenty- two of such appointments, including on African eatre Review, Yaounde 1989 to date; Editor/Consultant, Journal of Capitalism, Nature of Socialism, Calif., U.S.A. 1990-93; Associate Editor, African eatre, ed. Banham, Gibbs, Oso�san, 2008 to date; Consultant, Blackwell Companion to Twentieth Century eatre, 1990-95; Editor/Contributor, Contemporary Dramatists, London, 1993-98; and Consulting Editor, Nigerian eatre Journal, 2000 to date. All of these and other achievements are products of organized and effective administrative acumen. As a unionist he has fought and fought well to protect the interest of his members even at great personal cost and danger to his life. When Obafemi served as the Chairman of the Academic Staff Union of Universities, Unilorin Chapter, he was many times detained in police custody for leading his members on 'strike actions' in demanding for their rights and privileges. He succeeded in cultivating the union into one that had to be respected, whose voice had to be listened to, and whose opinions had to be sought in crucial matters concerning the administration of the University system. During this time, Obafemi emerged as a personality to be reckoned with, a man with sound, even if sometime controversial but irresistible logic. He fought indefatigably for the welfare of members of the university community, especially academic staff. His effective and efficient role as chairman brought him into the limelight and shed light on his hidden potentials in the university community as a unionist and a lover of and �ghter for the masses. Administration and unionism are two human engagements that are politically driven. For Obafemi to have succeeded in administrative and union leadership signi�es that he understands politics and knows how to play it. Evaluating his political prowess, Olajide Maiye observes that Obafemi shares two characteristics with Winston Churchill – “the power of words and a lion's heart. I challenge him to deploy these two supreme gis to �ll the ideological lacuna in Nigeria's political landscape” (2000:15). Indeed, Professor Obafemi is outstandingly equipped to provide all the necessary leadership values for articulating a common ideology and Larger than his Frame II 30 aggregating them into resilient institutional framework. e Scholar-Dramatist as Journalist, Public Intellectual and National Service Journalism and Public Intellection To fully appreciate Olu Obafemi's contributions to literary arts and the struggle for the enthronement of equal opportunities and social justice for all in a capitalist- oriented nation like Nigeria, he must �rst be appreciated as a social crusader. In demonstration of a strong belief in populist writing, Obafemi also took to journalism which affords him the opportunity to employ the newspapers and magazines as a vital means of reaching out more to large audience than what his literary and academic works can perhaps achieve. As journalist, he has featured regularly in the print media to direct attention to social decadence and rot in the post-colonial Nigerian society. He has written countless insightful essays/articles on speci�c Nigerian socio-economic and political issues, in many newspapers and magazines such as Nigerian Herald, Punch Newspaper, Triumph Newspaper, Graphic Newspapers, e Forerunner Newspapers, Post Express Newspaper, Comet Newspaper, e Sun Newspaper, Weekly Trust Newspaper, and isday Newspaper. Obafemi's preoccupation in many of these essays, which navigate multifarious themes and dimensions, is to expound the humanist philosophy which emphasizes individual, national and universal rebirth and regeneration as panacea to personal, group, and international decadence. Professor Obafemi has also given countless public lecture locally, nationally and internationally. Even in public discourse, he is ever consistent and faithful to social redemption of the Nigerian society. is is a platform he utilises so well combining his cra as a dramatist and journalist with his oratory prowess to gain unfettered access to the consciousness of his audience. With deep historical sense and social urgency Obafemi continues to conscientize the downtrodden to rise and make a difference, while engaging the establishment not to betray the people they govern. Perhaps it is Obafemi's sincere quest for a better society and equity that makes him one of the most sought aer public speakers and social mediators. National Service Professor Olu Obafemi has also had the opportunity to serve this country in many capacities and bringing quality contributions to bear in his service delivery. Some of his national service engagements include the following: Chairman, Governing Board, National Commission for Museums & Monuments; Chairman, Committee of Chairmen of Federal Culture Parastatals; Member, Presidential Ceremonial Committee, COJA, All Africa Games, Abuja; Special Investigator, Minister of Culture and Tourism's; appointment on the National Commission for Museums Pro�ling Olu Obafemi the Master Builder 31 and Monuments; appointed by the President of the Federal Republic of Nigeria through the Honourable Minister of Education as a National Delegate to the 39 Session of UNESCO in Paris; appointed as a Member of the Presidential Retreat Team on Education, and also recently appointed a member of Tertiary Education Trust Fund (TETFund) Technical Advisory Group. Scholarship and Publications Professor Olu Obafemi exudes a rich and profound academic and creative corpus. He is a creative artist and scholar who employs the creative and critical media to critique and comment on the state of our society and our collective humanity. His committed concern is to use his writings and theatre to upli the living condition in society, correct the imbalance and unjust social structure and to conscientize the people towards social transformation. He perceives drama/theatre as one veritable instrument for catalysing social change. is belief accounts for the radical posturing of his writings. us revolutionary impulse becomes a vital aesthetic feature of his artistic landscape. More oen, he paints the grimmer aspects of human values while throwing an intense searchlight to locate the paths out of the deluge. e ensuing dense cynical atmosphere is oen given a liberal air of redemption. Obafemi's literary language is combative and lethal with dynamic theatrical potentials capable of inciting a theatre audience. His work has been in�uenced by the con�uence of three currents in the literary and cultural worlds: (i) A philosophical and cultural authentication of the humanity of the black race, as well as the down-trodden through scholarship and the creative arts; (ii) an irrepressible condemnation of injustices and oppression where ever found; he advocates for equity, social inclusion, and better living condition for the down-trodden; and (iii) a rigorous search for theoretical postulate for interpreting and apprehending African literary studies. As a culturally grounded dramatist, Obafemi's drama and scholarship are constant affirmations of life, human dignity, and an unending celebration of the plurality of culture and the striking diversity that our cosmos represents. Well-grounded in the cultural ferment, ethos and logic of his native Akutupa Bunu Kiri people, which he projects in his drama, Professor Obafemi adopts the universe as his creative canvass. As a scholar and creative/literary artist, Femi Oso�san says his works radiate “stunning insight and delight”. Efurosibina Adegbija who was a close associate and colleague of Obafemi sees him as an “academic giant of enviable repute” who has established a name for himself as drama and theatre enthusiast and specialist, literary critic and a scholar with a profound, well-informed, critical mind and acumen. He has also been described as a shining literary star whose opinion is Larger than his Frame II 32 “coveted for scholarly papers, whose ideas count and have weight, and whose logic is oen stimulating, challenging and penetratingly rich, betraying a fertile, versatile mind and a perspicacity of insight that is not only appealing but also enviable”. His numerous publications testify to his erudition. For Obafemi, theory reveals its purpose and essence more profoundly in the hands of literary theorists. He believes that what de�nes the value of critical enterprise “is its success in enhancing our appreciation of literary works and the test of theoretical discussion is its success in providing instruments. To help the critic provide better interpretation.” Essentially, he writes as a theory-oriented scholar with the inside knowledge of the playwright and director; his theoretical postulations have been most enduring. He for instance evolved a performance theory of African drama; �rst by initiating an experimental tool and theory of analysis for revolutionary aesthetics in Africa exemplifying the plays of second generation Nigerian and African dramatists which include Femi Oso�san especially, and Kole Omotoso, Bode Sowande, Tunde Fatunde, and Olu Obafemi. He fashioned a dialectical materialist theoretical cannon that has in�uenced the interpretation of radical drama among theatre scholars in West Africa in the eighties and nineties. Depending on the experiment of popular performance aestheticians in Nigeria, he also con�gured fabulist aesthetics/fabulous aesthetics theory for the interpretation of stagecra and radical ideology which inhere the theatre of African dramatists who reconstructed indigenous oral narrative models as aesthetic framework for their social vision. Belonging to the second generation of Nigerian dramatists himself and as a scholar, Olu Obafemi has been proli�c and profound, engaging and compelling, innovative and adventurous. His academic recognitions and awards are not just enormous but also re�ective of a successful stellar academic and literary career which are informed, though not limited to, his works. Some of these works are listed below: Drama 1. Obafemi, O. (1986). Nights of a Mystical Beast (A Dramatic Epic). 50p. Benin: Adena Press. 2. Obafemi, O. (1986). e New Dawn (A Full-length Play). 46p. Benin: Adena, Press. 3. Obafemi, O. (1988). Suicide Syndrome (A full-length play), in collected plays. 47p. Ibadan: Frobrim Press. 4. Obafemi, O. (1993). Naira has no Gender (A Full-Length Play). 66p. Ibadan: Kra Books. 5. Obafemi, O. (1999). Pestle on the Mortar (A Full-Length Play) 45p. Ilorin: Pro�ling Olu Obafemi the Master Builder 33 Haytee Publishers. 6. Obafemi, O. (2002). Scapegoats and Sacred Cows (A Full-Length Play). 62p. Ilorin: Haytee Publishers. 7. Obafemi, O. (2005). Collected Plays of Olu Obafemi. 136p. Ibadan: Frobrim Press. 8. Obafemi, O. (2006). Dark Times are Over? (A Full-Length Play). 52p. Ibadan: University Press. 9. Obafemi, O. (2010). Ogidi Mandate (A Drama of Okun-Nupe Encounters). 91p. Ibadan: Kragrots. 10. Obafemi, O. (2015). Running Dreams…Tales from Many Nations. 76p. Ibadan: Kragriots. 11. Obafemi, O. (2016). Love Twirls of Adiitu and Iyunade (Stage Adaptation of Adiitu Olodumare, trans Mysteries of God. Ajon Creators Ilorin. 66p. Ilorin: Unilorin Press. 12. Obafemi, O. (2018). Near and Distant Cries. Ibadan: Kra Books Limited Poetry 1. Obafemi, O. and Cook, D (1990). Rising Voices (A Book of Poetry). 165p. Ibadan: Kra Books. 2. Obafemi, O., Ker, D. and Maduka, C. (1996). New Poetry from Africa. 202p. Ibadan: University Press. 3. Obafemi, O. (2005). Songs of Hope (A Poetic Volume). 66p. Ilorin: Haytee Publishers. 4. Obafemi, O. (2009) Illuminations: Songs, Dances, from the Belly of Time (A Poetic Volume) 106p. Ilorin: Haytee Press and Publishing Company Nig. Ltd. Prose 1. Obafemi, O. (1997). Wheels (A Full-Length Novel). 160p. Ibadan: Kragriots. Academic 1. Obafemi, O. (1992). Nigerian Writers and the Nigerian Civil War. 103p. Ilorin: Charity-Davies Books. 2. Obafemi, O. Bodunde, C. A. (1994). New Introduction to Literature. 160p. Ibadan: Associated Books. 3. Obafemi, O. Tinuoye, M. (1994). New Introduction to English Language. 228p. Ibadan: Associated Books. 4. Obafemi, O. and Lawal, Bayo (1994). Issues in Contemporary African Social and Political ought. 249p. Lagos/Ilorin: Academia Publications. 5. Obafemi, O. (1996 & 2001). Contemporary Nigerian eatre: Social Vision Larger than his Frame II 34 and Cultural Heritage. 292p. Lagos and Bayreuth: Centre for Black African Arts Civilization, Bayreuth African Studies, Germany. 6. Obafemi, O. (2001). Landmarks of Excellence: University of Ilorin at 25. 670p. Ibadan: Kra Books Ltd for Library and Publications Committee. 7. Obafemi, O. Ogundele, W. and Abodunrin, F. (2001). Iwalewa - Character is Beauty: Rede�ning Yoruba Identity. 372p. New Jersey: Africa World Press. 8. Obafemi, O. Bodunde, C. A. and Ododo, S. (2002). Round up Literature: A Complete Guide. 203p. London & Ibadan: Longman. 9. Obafemi, O. and Bodunde, C. A. (2003). Criticism, eory and Ideology in African Literature. 170p, Haytee Publishers, Ilorin. 10. Obafemi, O. and Babatunde, S. T. (2003). Studies and Discourse in English Language. 243p, Ilorin: Haytee Publishers. 11. Obafemi, O. Yerimah, A. (2004). Ideology and Stage-Cra. 201p.Lagos: Bookplus Nigeria Ltd. 12. Obafemi, O. (2006). Cultural Diversity and the Challenges of National Integration. 30p: Abuja: National Institute of Cultural Orientation. 13. Obafemi, O. (2008). Politics and Aesthetics: Essays in Drama, eatre and Performance. 215p. Ilorin: Haytee Press and Publishing Company Ltd. 14. Obafemi O. and Yerima A. (2011). Cultural Studies: emes concepts and Practice. Kuru and Ilorin: National Institute and Haytee Publishers. 15. Obafemi O. and Ayakoroma, B. (2013). Culture, Peace and National Security in Nigeria: e Role of Traditional Rulers and Local Government Chairmen. Ibadan: Krabook Publishers. 16. Obafemi O. and Ayakoroma, B. (2013), Culture, Leadership and Accountability in Nigeria. Ibadan: Krabook Publishers. 17. Obafemi O. and Ayakoroma, B. (2013), Culture and Socio-Economic Transformation of Local Government in Nigeria: Setting Agenda for Development. Ibadan: Krabook Publishers. 18. Obafemi, O and Galadima HS (2013). Complex Insurgencies in Nigeria. Abuja: Cha-bra Global Ltd. 19. Obafemi, O. and Egwu, S (2014), Political Parties & Democracy in Nigeria. Kuru: National Institute, Vintage Art Gallery Ltd. pp.431. 20. Obafemi, O. (2016). Mimiko's Odyssey: A Biography of Revelations. 420p. Ajon Creative Series. Public discourse 1. Obafemi, O. (2008). Public Discourse on the Humanities: Culture. Language. Literature. eatre. Culture. 110p. Ibadan: University Press, PLC. 2. Obafemi, O (2017). Public Mediation and Society: Cultural/Creative Industries, Literature, eatre and the National Economy. Lagos: Concept Pro�ling Olu Obafemi the Master Builder 35 Publication Limited. Translation 13. Obafemi, O. (2012). e Mysteries of God: A Translation of D.O. Faguwa's Adiitu Olodumare. Ibadan: Nelson Publishers e above are sieved from his countless other individual poems published in major journals, anthologies, newspapers, magazines, and other creative outlets; there are also numerous other academic essays published in book volumes, and journals (See CV please). Honours and Recognitions As a dramatist, administrator, unionist, theatre director, essayist, etc. Professor Obafemi has been rewarded with many laurels of honour and recognition in Nigeria and offshore; he has forty of such honours to his credit. Some of these include: 1. Commonwealth Fellow, University of Leeds, 1989 2. Newswatch, Who's Who Roll of Honour, 1989 3. DAAD Study Fellowship, Bayreuth University, Germany, 1993, 1994, 1995. 4. Cambridge Contemporary British Writing Fellowship, 1993 5. International Visitor Program of the United States Information Agency, 1995 6. Unilorin Long Service Award, 2002 7. Fellow, Society of Nigerian eatre Artists, 2005 8. Man of the Year 2004 Award, International Board of Research, American Bibliographical Institute, Inc., 2005 9. Fellow, Association of Nigerian Authors, 2006 10. Arewa Literary Award for Excellence on Northern Literature, 2008 11. Fellow, Nigerian Academy of Letters, 2008 12. Fellow, Nigerian English Scholars Association, 2013 13. National President, Association of Nigerian Authors, 2002 – 05 14. Chairman, Reproductive Society of Nigeria (REPRONIG) – 2010 to date 15. President, Nigerian Academy of Letters (NAL) - 2016 to date 16. Chairman, Implementation Committee, Atiba University Oyo, Nigeria, 2017 It is important to state that many of Obafemi's works and publications are held in many libraries across the world. WorldCat offers an impressive list of such works. WorldCat is a union catalog that itemizes the collections of 72,000 libraries in 170 countries and territories that participate in the Online Computer Library Center Larger than his Frame II 36 (OCLC) global cooperative. e most widely held works about Olu Obafemi is Larger than his frame: critical studies and Re�ections on Olu Obafemi (Book). Other works on WorldCat by Olu Obafemi are: Character is beauty: rede�ning Yoruba culture & identity – Iwalewa-Haus, 1981- 1996 (Book; 2 editions published in 2001 in English and held by 136 WorldCat member libraries worldwide. Contemporary Nigerian theatre: cultural heritage and social vision (Book, 11 editions published between 1996 and 2009 in English and German and held by 111 WorldCat member libraries worldwide). Dark times are over? (a topical drama book, 7 editions published in 2005 in English and held by 94 WorldCat member libraries worldwide. is play satirizes the decay in the university system and the larger society: prostitution, cultism, religious zealotry and injustice.) Nigerian writers on the Nigerian Civil War: anguish, commitment, catharsis (Book, 1 edition published in 1992 in English and held by 30 WorldCat member libraries worldwide). Naira has no gender (a play, 1 edition published in 1993 in English and held by 22 WorldCat member libraries worldwide. “e continued alienation of the mass of Nigerians from their full potentialities in life is the central concern of the playwright in this new play”). Wheels (prose, 2 editions published in 1997 in English and held by 20 WorldCat member libraries worldwide). e Cambridge guide to African and Caribbean theatre (Book, 7 editions published between 1993 and 2004 in English and held by 20 WorldCat member libraries worldwide). Criticism, theory and ideology in African literature (Book, 2 editions published in 2003 in English and held by 17 Wo