In a profound exploration of art and society, the literary and dramatic work of renowned playwright Olu Obafemi continues to offer a vital lens through which to view Nigeria's political reality. His play, 'Pestle on the Mortar,' first published in 1974, is receiving renewed critical attention for its prescient 'mango vision'—a metaphor for the rich, multifaceted, and sometimes bittersweet truth of the human condition within the nation's polity.
The Mango Vision: Art as a Reflection of Mind
Central to understanding Obafemi's work is the concept that the deepest quality of any artwork stems from the mind of its creator. This principle, famously articulated by the novelist Henry James, finds vivid expression in Obafemi's literary engagement. As a playwright, dramatist, and poet, his 'moral passion' and unique perspective shape a body of work described as possessing a 'truly mango quality.' His artistic prerogative is not merely to entertain but to reveal, using his craft to un-conceal truths about power and humanity.
The characters in 'Pestle on the Mortar' are crafted to confront readers and audiences with the unvarnished reality of societal structures. They do not turn away from truth but instead present life as it is lived and felt. This presentation is likened to the enjoyable experience of drinking mango juice—a sensory and meaningful engagement with the world the artist has created. The play's spectacular fusion of matter and form is predicted to sustain lasting interest and even influence new artistic expressions for generations.
A Modern Parallel: Natasha Akpoti-Uduaghan and Kogi Politics
The analysis draws a compelling parallel between the play's themes and contemporary Nigerian politics, specifically through the figure of Senator Natasha Akpoti-Uduaghan. Born on December 9, 1979—five years after the play's publication—the senator is highlighted as a modern embodiment of the political emotions and struggles depicted in Obafemi's work.
Today, Akpoti-Uduaghan is widely recognized as a significant and popular political figure, both in Kogi State—which she represents and which is also the home state of Olu Obafemi—and in the National Assembly. The discourse posits that the play, through its 'communal histories' and records of cultural and political joys and griefs, holds wisdom for understanding the landscape she navigates. The characters in 'Pestle on the Mortar,' whether symbolic or direct, are seen to reflect the same political emotions that the senator engages with, emotions that merit deep reflection in Nigeria's complex political climate.
The Enduring Call of a Philosophical Play
'Pestle on the Mortar' is ultimately framed as a philosophical, poetic, and development-oriented play. Obafemi employs a distinctive 'mango rhetoric'—utilizing ornament, form, and song—not only to express a passionate disdain for corrupt power but also to point inward toward meanings that can uplift humanity. The play argues for the indispensable role of art in a world that would otherwise perish without it.
The gripping conclusion of the play aligns with the playwright's overarching mango vision, a vision meant to be planted 'freshly, juicily and flourishingly' in the modern artistic consciousness. The work stands as an invitation to readers and audiences to catch the colour of Olu Obafemi's world—a world that, through its artistic integrity, continues to comment powerfully on the enduring realities of power, character, and society in Nigeria.
