REMEMBERING OGUNDE HURBERT.

Nigerian dramatist, musician, dancer, actor-manager, film maker and versatile artist. Hurbert Ogunde was the doyen of modern Nigeria theatre. He was born in 1916 at Ososa near Ijebu-Ode, Ogun State.
His father was a Baptist Minister, Jeremiah Dehinbo Ogunde; his mother was Eunice Owatusan Ogunde. He had a babalawo (traditional healer and diviner) grandfather whose influence blended with his Christianity upbringing and created in him strong interest in both Christian and Yoruba traditional beliefs. these desperate influences shaped his dramatic output, as can be clearly seen in his early Christian plays and the strong flavour of traditional beliefs in his later plays and films.
He had his primary education at St John's School, Ososa (1925-28), at St Peter's Faji School, Lagos (1928-30) and at Wasimi African School, Ijebu-Ode(1931-32). Between 1933 and 1940 he was the choirmaster and organist of Wasimi African School, where he also taught.
He joined the Nigerian Police Force in 1941 and while serving there started (as an amateur) a theatre company called the African Music Research Party, and came out in 1944 with his first "Native Air Opera" called The Garden of Eden and the Throne of God. In 1946 he left the police and went professional and stormedthe stage with the production of Tiger's Empire, an opera which earned him a caution by the police. Later that year, in Jos, his theratre was banned for staging the play Strike and Hunger.
Ogunde's theatre progressed through different phases, from the opera concert party to the contemporary theatre it was at the time of his death. These phases are reflected in the different names he gave to his company. In 1945 it was called African Music Research Party, but in 1947 the name was changed to Ogunde Theatre Party. In the 1950s it became the Ogunde Concert Party and it was again renamed The Ogunde Theatre in the 60s and retain this name thereafter.
The thematic preoccupation of his plays varied; from folklore, he went on to tackle other themes, such as satire, history and politics.The themes that interested him are a reflection of the influences acting on his art. He was influenced by European theatre, an influence which he made use of creatively to come up with a unique theatre all his own. He was, perharps, more profoundly influenced by the classical travelling theatre of the yoruba called the Alarinjo theatre which had its beginning in the 16th century.
Ogunde's theatre become very popular, especially among his yoruba audience, because of its preoccupation with cultural nationalism. He catered for the interests of not only the nationalists but also the ordinary people. His theatre came to be closely identified as a vehicle not only for entertainment but also for social comment, political action and instruction. Thus, through his theatre he became a leading figure in the nationalist struggle. The colonial government viewed his theatre with disapproval and saw it as an effective voice in the agitation for independence and consequently did what it could to silence it.
Ironically, Ogunde's theatre also suffered persecution in the 1960s after independence was achieved and this time at the hand of Western Region Government under Chief S.L.Akintola(q.v) after the staging of Yoruba Ronu ("Yoruba Think") in 1964. The theatre was banned for two years until the ban was lifted bythe military government of Col. Fajuyi after the 1966 coup d'etat.
His theatrical performances were remarkable and memorable; he was a charismatic personality. His usual lively and dynamic presentations held his audience spellbound. His was a fascinating family theatre group constituted by himself and his many wives and children. Ogunde has over eight wives and numerous children, and most of them are member of his theatre. The commitment of Ogunde and his entire family to the theatre company which was the family business, was profound. Thus his theatre had a cohesion, durability and resilience lacking in many other yoruba travelling theatres. Ogunde's success in the theatre took him to many parts of Africa, Europe and the Americas where he performed to very enthusiastic audiences.
He was constantly writing and producing new operas and plays all his life. Among the most famous of his operas are The Garden of Eden and theThrone of God(1944), followed by Worse Than Crime(1945), Strike And Hunger(1946), King Solomon(1948), Bread and Bullet(1950), and MY Darling Fatima(1951). Some of his most remarkable plays include Yoruba Ronu(1964), Ayanmo(1970), Onimoto(1971) and Aiye(1972). A large number of his political works provoked a ban or caution from the authorities, but many of the political plays were well received by the government of the day. These works include Song of Unity(1960), a play commissioned by the Nigerian government to mark independence, Keep Nigeria One(1968) Muritala Muhammed(1976) and Nigeria (1977).
One of Ogunde's major contributions to history of professional theatre in Nigeria is thathe made the theatre accessible to the ordinary people, thus wresting it from the tutelage of court and church. He founded the Union of Nigerian Dramatists and playwrights in 1971 and by 1990 the union had a membership of over a hundred professional travelling theatres. He founded a film village in his home town of Ososa. In 1979 he set up a film company to record his most successful and popular plays for posterity. At the time of his death, he has four screen titles, including Aiye and Jaiyesinmi, to his name, in addition to 51 stage productions and eleven record titles, produced by his record company.
In 1982, Ogunde was honoured by his country with the award of Member of the Order of the Federal Republic. Ogunde , one of the finest and most productive dramatists Nigeria ever produced, was active as ever in the last years of life. He wore his age gracefully, and when he died on 4 April, 1990 at the age of 74, he was still a very dynamic and tireless actor and producer.