Cash “Aye-ko-ooto” Onadele: A Roaring African Voice Calling for Change through the Arts

 

 

 

By Bolaji Israel

 

 

 

 

Sahara Weekly Reports That The arts and their promoters have long served as powerful voices for inspiring and enforcing radical changes across social, political, economic, and cultural landscapes.

 

 

 

 

 

 

 

Nigeria, and Africa more broadly, has suffered from poor leadership characterised by corruption, nepotism, widespread poverty, stunted development, inequality, loss of identity, erosion of cultural values, and a troubling craving for foreign lifestyles, among other social maladies.

 

 

 

 

 

 

 

 

These issues have marred the promising trajectory of a nation with over 200 million people, rich in both natural and human resources, especially since the onset of its current fourth democratic era in 1999.

 

 

 

 

 

 

 

 

One of the literary voices leveraging the power of the arts—particularly drama—to inspire change in Nigeria and Africa is Cash Akinyemi Onadele, also known as Aye-ko-Ooto. He is a prolific writer and a culture-aware philosopher, poet, and playwright.

 

 

 

 

 

 

 

 

His passion for literature was nurtured by his childhood experiences with his farmer grandparents, who filled his early years with captivating stories. This foundation sparked his interest in literature, and despite earning a Master’s degree in Agronomy, he ultimately found his voice in the realm of the arts.

 

 

 

 

 

 

 

 

Onadele firmly believes that the erosion of cultural identity has distorted the mindset of many Nigerians, leading them to embrace foreign influences—revised histories, religions, lifestyles, foods, music, and addictions—instead of the indigenous practices that have proven their worth for centuries before European colonisation.

 

 

 

 

 

 

 

 

Through his art, he passionately calls on Africans to return to their roots and heritage as a critical first step towards achieving comprehensive social and economic development. He asserts that a lost mind, devoid of identity, cannot effectively contribute to nation-building.

 

 

 

 

 

 

 

 

Despite spending considerable time in Europe and America gaining valuable experience and writing extensively, Onadele has remained true to his African roots, a theme that permeates his impressive body of literary work, which includes over 109 collections of plays, poetry, and prose.

 

 

 

 

 

 

 

 

His latest play, “Eni Ogun” (The Noble Warrior), produced with the support of the business sector led by FirstBank, was performed in July across Lagos and Ogun States at iconic venues such as the Muson Centre in Lagos Island and the June 12 Cultural Centre in Abeokuta, in celebration of Prof. Wole Soyinka’s 90th birthday.

 

 

 

 

 

 

 

 

Through the play, Aye-ko-ooto not only celebrates Soyinka’s artistic exploits but also tackles critical issues of leadership, identity crisis, culture, values, class, history, and corruption in Nigeria through the lens of history, aligning with Soyinka’s radical ideologies.

 

 

 

 

 

 

 

 

The protagonist—a representation of Professor Soyinka—is the young and charismatic Oluwole Lowo, a noble prince and warrior who, despite his preference for a private life of hunting, teaching, and romance with his intended, Olasope, becomes the conscience of society, catalysing a seismic shift in leadership and community dynamics.

 

 

 

 

 

 

 

 

Set in the colonial era of 1884/1885, the fictional play delves into themes of colonial invasion and subjugation, love, leadership, cultural beliefs, religion, and corruption.

 

 

 

 

 

 

 

 

Onadele weaponises the protagonist’s struggles as a potent catalyst for the community’s collective demand for positive change, ultimately leading to the natives’ triumph over their oppressors.

 

 

 

 

 

 

 

 

The over two-hour play, an adaptation from the drama emerges as a clarion call for Nigerians and Africans to unite, shed foreign identities and practices, rediscover true histories and heritage, embrace indigenous customs and cultures, advocate for responsible leadership, and strive for an egalitarian society characterised by development.

 

In an interview with THECONSCIENCE NG, the playwright unveiled the philosophy underpinning the play: “Every soul has a shell,” inspired by Wole Soyinka’s play, “Death and the King’s Horseman” (1975).

 

He stated, “I distilled the essence of this quote and wrapped literature around it to explore the persona. The story is rich and layered. My aim was to celebrate a dramatist with a drama. I sought the deeper meaning of the quote, combining romantic comedy with beautiful literature, all interwoven with the story of our people.”

 

Aye-ko-Ooto elaborated on the underlying philosophy: “Every soul has a birthplace, representing identity; every soul is nurtured, reflecting culture; every soul is loved, embodying passion; and every soul has a noble purpose tied to tribal citizenship. When faced with adversity, every soul must summon the courage of character. Ultimately, every soul carries a message, and that message is your inheritance.

 

“The essence is clear: if you fail to find your identity, neglect your citizenship, and do not stand up for your values in troubled times, you leave your children without an inheritance.”

 

Onadele described Wole Soyinka as an enigma—a literary cult hero, cultural icon, champion of freedom, and an unwavering advocate for justice, who also holds a deep affection for children. He shared a personal connection with Soyinka, emphasizing the playwright’s commitment to preserving cultural artifacts as an undeniable ambassador of culture.

 

To promote the Yoruba language and culture, Aye-ko-Ooto intentionally wrote parts of the play in Yoruba, encouraging European audiences to engage more deeply with the language.

 

In response to the alarming decline in cultural awareness and identity among young Nigerians, the playwright urged the government to embrace ethnography—a principle that prioritizes narratives rooted in African stories. He advocated for increased funding, including prizes and grants, for works celebrating African culture over those with foreign plots.

 

He called on well-meaning Nigerians to treat artists and their promoters with respect, rather than viewing them as beggars, while encouraging greater support for the arts based on merit.

 

Onadele, who also has a background in Artificial Intelligence (AI) from his time in Europe, recalls how being exposed at an early age to the works of renowned Nigerian author of Yorùbá heritage, Chief Daniel Olorunfẹmi Fágúnwa (commonly known as D. O. Fágúnwà), inspired his own interest in writing. For him, the Yoruba native voice adds authenticity to storytelling.

 

According to Onadele, who has built the world’s largest library of individual poetry produced by any single author, every success story has humble beginnings.

 

Earlier this year, Aye-ko-Ooto was in his element at the Lagos Book and Art Festival (LABAF), dubbed Africa’s largest cultural picnic, where he conducted a two-day mentorship session with undergraduate students from the Creative Arts Department at the University of Lagos on the first day at Kongi’s Harvest Gallery, Freedom Park, Lagos.

 

Onadele also hosted another mentorship programme for pupils from various public primary schools.

 

The prolific writer engaged young people on the value of literature while unveiling an endowment for literary prizes in both Yoruba and English languages. It was a rich, educational, and inspiring experience for participating students, as Onadele shared insights from his journey as a writer, despite having a BSc. and MSc. in Agronomy.

 

Through Adubiifa Network Company (ANC), a multi-media literary, theatre, and movie company, he employs performance theatre as a means to drive change.

 

His productions have gained recognition from major players like the Wole Soyinka International Cultural Exchange (WSICE) and the Centre for Black and African Arts and Civilization (CBAAC).

 

Onadele’s name continues to resonate in the literary space, where calls for major shifts and changes in Nigeria keeps growing louder.