“This should be the pride of all Yoruba descendants.”- Dimeji Sodeke
Staring at the blank white page in my writing app, I begin to scribble the words down as they reveal themselves to my thoughts. For whatever reason, I got spurred to include GANGNAM and YORUBA in capital letters in my first ever headline for this review of Dimeji Sodeke’s newest literary piece: OONI LUWO (ONE QUEEN, TWO KINGS).
While GANGNAM, a word from South Korean vocabulary, remained not red underlined (as incorrect words or grammatical blunders are indicated), my auto-correction tool indicated the need to change YORUBA to YOUR. Turns out there are places in your sentences where YORUBA is flagged as a grammatical blunder… Like after in.
Hence, it becomes prevalent to gradually do more as regards stamping our customary vocabularies to be used in the right way in technological devices, applications, and educational tools created by foreigners. That said, if the tech guys with African backgrounds will not put it forward or do more in this regard, then we have to do it the way we have always known in Africa: tales.
This time, not by moonlight but by publishing authentic chronicles projecting the basics of who we are for the world to document in their digital libraries and hardwood shelves. Besides, the play OONI LUWO (ONE QUEEN, TWO KINGS) written by Dimeji Sodeke comes in four languages: French, Pidgin, English, and Yoruba. With the option to pick from paperback, E-book, and audio play.
Instantly you can guess that the play will ten to one go farther than some of the African narratives written by some of the forebears of literature in Nigeria, and likely Africa.
On how the South Korean word is connected to an indigenous literary composition from the Yoruba Ilé-Ifè historical archives- OONI LUWO (ONE QUEEN, TWO KINGS) is a publication from the path of the Gangnam writing style.
Gangnam style of writing refers to the fictitious or factual documentation of groundbreaking pioneers in history by a writer of another gender different from the gender of the pioneer being documented. It is a writer’s use of creative power in a captivating manner while still unfolding fictional or realistic events as close as they can to what really happened.
It is called Gangnam because it most likely raises controversy and negative reactions from audiences who are of the same gender as the writer of the piece. In spite of the fact that writers who employ the Gangnam writing style aren’t concerned about what people will say. But the impact the messages in their literary piece will make.
Thus, the designation of OONI LUWO (ONE QUEEN, TWO KINGS) as the retelling of a significant period in Yoruba History with a Gangnam-style writing approach. Of course, I coined the words after reading this nostalgic piece by Dimeji Sodeke.
Skipping over eagerly the headlining hardcover of Dimeji Sodeke’s new literary piece, for more than a minute I paused on the 1st page where I saw only the title of the play inscribed confidently: OONI LUWO (ONE QUEEN, TWO KINGS). But really, isn’t there something stupendous about the title that makes you halt to think: what the f***k is going on here?
Thereafter, tracing the remaining empty bright lengthy white color that follows the title phrased on the 1st page, the general purpose of the play is instantly revealed: For Culture Sustainability and History Recreation. Fast forwarding (audio version), scrolling (digital copies), or swiping (hardcover) pages to the playwright’s Note on The Play’s Origin, almost certainly, you conclude you know what the plot of this compelling piece should be. You will feel convinced of your conjecture because it resembles the same intelligent cue you got before sitting down to 90% of the Yoruba Nollywood movie you’ve as likely as not watched. So reassuring that it might be enough reason to decide on the reading adjournment of OONI LUWO (ONE QUEEN, TWO KINGS).
However, having read the play, I can say without a doubt that it is the playwright’s calculated effort to test your objective for buying this play: because you know him, or owing to the fact that you’re interested in knowing (more about) the history being recreated for the purpose of cultural sustainability. If you have bought the play for the (sole) reason of the former, I will be surprised if you read the play. But if it is for the latter, you will definitely start and conclude the compact play in at least 24 hours.
This would be one of the freaky writing styles of Dimeji Sodeke who seeks that you engage his books of revelation only when you are ready to put assumptions aside and open your mind to the surprising previously unknown facts he has deliberately composed for your discovery. For when he writes, Dimeji Sodeke being one ever mindful of his obligations to God, humanity, and his heritage tells his truth as it is.
21ST CENTURY RELEVANCE:
The play OONI LUWO (ONE QUEEN, TWO KINGS) provides a reflection that can be used to measure the development of the Nigerian or Ilé-Ifè society. This is quickly vivid in Act 2 Scene 2, where the reader identifies the rigidity of African tradition.
A complicated complexity that has residues in the Modern day African society where the supporter of a female president, senate president, vice president, or Queen is perceived as not “…knowing what he/she is saying” as the Iyalode of the fictional Imoleaiye setting in the drama perceived the Chief Priest. Even though she was indirectly questioning the wisdom of the gods.
Basically, the tragic drama is a blue sky anecdote invented around the real events that occurred in the life of the 21st and the only female Queen of Ilé-ifè: Ooni Luwo.
The bold I-am-in-charge I-know-what-I-want female character of 10th-century Ooni Luwo in the tragedy is an invaluable guide to confronting issues such as sexism, patriarchy, insufficient presence of women in higher positions of power, economic inequality, and misogyny up until now threatening the effectiveness, contributions, and sanity of the 21st-century woman. Undoubtedly, the Nigerian society even now shares a boatload of similarities with the 10th-century Yoruba kingdom of Ilé-ifè.
Like the women of this contemporary period, Ooni Luwo was underestimated due to her gender. For this reason, she was almost sidelined as the rightful heir of Ilé-Ifè’s (represented as Imoleaiye Kingdom in the play) throne. Even though the gods as mentioned by Ifariran (the Priest of Imoleaiye Kingdom) clearly chose Ooni Luwo as the next leader of her generation upon the demise of the previously sitting ruler (King Aderogba of Imoleaiye Kingdom).
Therefore, the playwright’s intention would be to show that African women’s struggles started early before modern-day grammarians came up with the tags: feminism or womanism. Using Ooni Luwo’s administrative achievements, mannerisms, actions, and intelligent speech- Dimeji Sodeke makes it clear that a woman is a born leader if not a better one. What Ooni Luwo achieved as the Queen of Ilé-Ifè was never attained by the Kings before her. Still, as is the case in our present day, she suffered from constant hatred and bullying by her villagers and chiefs.
A Yoruba version of Dimeji Sodeke’s play translated by Damilola Odunukan. The play celebrates womanism as the playwright recreates the history of the only female monarch to ever sit on the Ife throne. Ooni Luwo is an emotionally purging play, full of humor, and suspense, and rich in African proverbs.
Probably the play is Dimeji Sodeke’s underlying strategy of submitting his proposal of female leadership as an alternative that can solve Nigeria’s leadership woes. But as it happened in the constructed Imoleaiye Kingdom (Ilé-ifè), even in this 21st-century Nigerian State- men would do anything possible to ensure a woman never becomes the most powerful head of government. Not to talk of being the 52nd Queen of Ilé-Ifè’s kingdom.
That said, Dimeji Sodeke spurs the reader to wonder if the past denial of destined female leaders in the highest places of authority in Nigeria is to be considered by Nigerians in the attempt to understand why manly leadership continues to be ineffective.
Isn’t it astonishing to realize that a history that was assumed to be unreliable and out of date has the archive of a personality that up to the present time has a huge impact? This would be another functional goal of Dimeji Sodeke as he presents Ooni Luwo as a worthy model relevant for emulation by the female gender who seek strength and motivation to overcome men’s stronghold on authority. The themes of the play; the subjugation of women, suppression of their wants, and undervaluing them further illustrate how significant and closely connected the very distant 10th-century chronicle of Ooni Luwo is to the present day.
While Gen Z and Millennials wonder how useful African history is to their present, Dimeji Sodeke provides the relevance of our past through the dialogues and actions of the characters in OONI LUWO (ONE QUEEN, TWO KINGS) to prove that there is so much we can learn from history to solve the difficulties of today.
The tragic drama, a dramatization of an actual historical event that happened in Ilé-Ifè in the 10th century, is a literary correspondence that meticulously tales one of the richest hidden events in Yoruba history in relatable drama and magnetizing written conversations. The play reveals unconventional wisdom in the characters’ dialogues which are composed of deeply thoughtful Yoruba proverbs and idioms. This gives the piece an interesting characteristic, one every age group at any point in time in history can always learn from and enjoy.
Especially for the fact that it comes in French and English, two of the superpower languages in the world. With the basis of bringing increasing global attention back home to Nigeria: specifically Yoruba land and generally Africa.
Despite the fact that for the sake of relevancy, the Yoruba proverbs and idioms were written in English without the proper Yoruba Àmì ohùn (tone marks) on each Yoruba word. Even the statements made in Yoruba are without the indigenous tone marks.
While this aids convenient reading and understanding, I would have preferred that the Yoruba proverbs and idioms are written in the appropriate way. Most especially done so in the English version of the play.
This prevents losing the substance in our language to another one that is known for assimilating foreign languages as theirs. Matters because when our language is eventually misplaced into the domineering shadow of another, our gradual eroding culture will in time become totally defunct.
Like our historical accounts, our language needs to be preserved in its uniqueness. I disagree that it should be adjusted to fit the set rules and regulations of Westerners.
HISTORICAL PERSPECTIVE:
For quite a while, there had been erroneous beliefs that the African system and history are littered with the devaluation of women, relegating them to domestication and nothingness. This is one of the obvious reasons why this piece is destined to be out to correct such beliefs and perceptions. Hence, this is history woven in creativity to appeal to all sorts of audiences aimed at entertaining, enlightening, educating, and informing.
Ooni Luwo is a she who represents a highly patriarchal period in Yoruba history. The play provides a historical perspective on the social, cultural, intellectual, and emotional settings of Ilé-Ifè’s past as a springboard to better understand the societal events and individual attitudes of the present.
Before now, patriarchal supremacy has always been the case. This explains why Ooni Luwo was the first queen of Ilé-Ifè’s kingdom and is still so in this contemporary age that claims to empower women and respect their rights.
The play challenges the African traditional patriarchs who are still very much invested in selfishly deciding the fate of their female offspring including those determined to prevent women leadership at all costs. While it also questions the traditional African matriarchs like Iyalode (Chief of Imoleaiye Kingdom) and Iya Agbaje (Chief of Ile Kingdom) who give in to the pressure from men assumed supremacy which forces them to collaborate with the male gender to sell out their kind, not forgetting the intentional overlooking of the dictatorship of men towards other women as long as it doesn’t affect them.
It also further gives a background to why men today still feel entitled to power wherever and whenever they are allowed. Because for them, since history began, the man is supposed to be the head and not the tail.
Unmistakably, Dimeji Sodeke has decided to put out the Ooni Luwo story to communicate that traditional principles do not have to be stagnant. As the world changes with every new era that comes along, the Yoruba customary traditions should permit adaptations befitting of the new age.
While projecting the successes of Ooni Luwo in the play, Dimeji Sodeke’s vision is that this play becomes an inducement that leads Generation Z and Millennials to look back to their ancestral past, learn from it, and live true selves every day.
Lastly, as long as the past exists, OONI LUWO (ONE QUEEN, TWO KINGS) will consistently be relevant in the essential dialogues surrounding Yoruba history and the preservation of its narratives. Thus, the explanation that makes the play a perfect library fit for everyone looking to conserve what’s left of Yoruba history.
There are countable errors noticed in spelling and grammar here and there from the beginning of the play. For instance, Queen Luwo in Act 2 Scene 1 stated this in a statement: I take you to as an advisor. Rather than “I take you as an advisor.” In Act 2 Scene 1 Queen Luwo said “And to you others, I believe we all know marriage comes with a great responsibilities.” Instead, Queen Luwo again in Act 2 Scene 1 should have said “And to others, I believe we all know marriage comes with (a) great responsibilit(y)ies.” Oloye Fesobi says in Act 4 Scene 1 “Today, we shall be making history that would shape the future our kingdom.” Instead of this: “Today, we shall be making history that would shape the future of our kingdom.”
While the aforementioned did not affect the awe-inspiring nature of the play, it looks to me as if this fictive tale was rushed. An opinion that could be further proven when in the note on the play’s origin, the playwright opened up that “she (Ooni Luwo) was the 21st Ooni of Ife and revealing her to the world in the 21st century makes it more spiritually significant to me.”
Nonetheless, the drama is a remembrance and documentation of a very important part of our history as Yorubas so we don’t forget. It further depicts Dimeji Sodeke as a cultural guard who can be relied upon for help in an emergency period such as this when the epidemic of cultural amnesia is at its strongest in Nigeria.
The play is like a point of contact and a beacon that draws attention to Africa’s tales that while we think there are none relevant, there are superabundant stories to tell. Moreover, OONI LUWO (ONE QUEEN, TWO KINGS) plays on the dying loyalty of the older generation who rock their chairs overlooking the destruction of their inheritance and the reasoning of the youths forcing themselves to become a real version of who they are not.
OONI LUWO (ONE QUEEN, TWO KINGS) is a cultural stepping stone that is clearing a new path for Yoruba history around the world. It makes prominent the legacy of Queen Luwoo who is believed to have been a pioneer ahead of her time.
The claim still exists that African history began upon European contact. This should have been accepted for there was barely any textual documentation from our progenitors. However, with the pretty well realistic inventive recreation of Ooni Luwo in his latest play, Dimeji Sodeke makes the assertion that we carry the historical accounts of our ancestors in our blood. And as we continue to exist in the physical, so do the events from our grandparent’s past, particular to every African, persist in our soul roaming about in the subconsciousness of our imagination waiting to be narrated.
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