In an era where a significant number of Nigerians struggle to secure basic sustenance, the concept of enjoying life's simple pleasures, metaphorically represented as 'sucking and biting a mango,' becomes a distant reality for many. This stark socio-economic backdrop forms the critical lens through which the unique artistic universe of Professor Emeritus Olu Obafemi is examined. His creative philosophy, often described as his 'mango vision' or 'mango world,' is not an insignificant detail but a profound reflection of his core beliefs about art and humanity.
The Core of Obafemi's Mango Vision
Professor Obafemi's notion of art and humanity is remarkable, distinguished by its unique 'mango flowering'—a quality that fulfills his humanistic interests. This vision, however, creates a poignant contrast. While the artist derives profound, almost 'stupendous,' pleasure from his work, which he executes on behalf of the people, the masses he champions often find themselves unable to taste the 'mango of life or existence.' His art, therefore, becomes a source of simultaneous joy and torment, a duality that both defines and complicates his aesthetic mission.
This artistic execution brings him what can be termed 'mango joy,' yet this very joy is vulnerable to vulgarisation. The threat comes from external forces—individuals in positions of power whose actions and tastes operate outside the 'temple' of genuine artistic creation. These forces seek to control and enjoy the 'fruity fruit' of the mango vine without understanding its essence. Their sensibilities, the analysis suggests, are dead to the 'art of goodness,' which is often annihilated by vulgar politics.
A Theology of Drama and Poetry as Response
In response to this tension, Obafemi develops what can be described as a positive theology of drama and poetry. This framework constitutes his 'pure mango art,' a form deeply rooted in social commitment that promotes patriotic interests and broadens his artistic vision. The value of his work demands a multi-faceted evaluation—physiologically, nutritionally, spiritually, and symbolically—to digest its full meaning.
Such an evaluation requires deep contemplation and a detailed 'photographic explication' to uncover the historical, cultural, social, and political evidence embedded within his 'mango thoughts.' This creative logic and beauty are particularly discernible in the expert craftsmanship of his poetry.
Pestle on Mortar: A Symbolic Masterpiece
A concrete example of this vision is found in the critical examination of his 1974 play, 'Pestle on Mortar.' Scholar Mabel Evwierhoma provides a pivotal interpretation, situating the play within historical and multifaceted contexts—feminist, social, communal, cultural, economic, and political.
Evwierhoma elucidates that the title derives from the woman's domestic domain, specifically the kitchen. The pestle and mortar are not just tools but powerful symbols. The pestle acts as the crusher, and the mortar as the receptacle, both requiring strength and endurance. She notes that these objects often attain inter-generational status, carrying family histories. Crucially, she identifies the pestle as 'many a woman’s instrument of household or conjugal attack and defence,' representing a post-feminist approach to relational dynamics.
The play's significance, as observed, lies in how Obafemi highly symbolically executes its conscious, edifying concern. As French poet André Breton asserted, 'The work of art is valuable only insofar as it is vibrated by the reflexes of the future.' 'Pestle on Mortar,' written in 1974, proves its enduring value today, as its 'reflexes' vibrate with urgent significance in our current era—the future it anticipated.
Through repeated engagement with this play, the essence of Obafemi's mango vision in his mango world becomes vividly clear. It is a world where art is inextricably linked to the people's condition, serving as both a reflection of their struggles and a resilient, symbolic tool for understanding and navigating power, tradition, and survival.
