Social Conflict and Dramatic Aesthetics In Kehinde Akano’s Oba Mosebolatan

Omileke Shadrack Mayowa

Department of English and Literary Studies,

Kwara State University, Malete, Nigeria

Email: Shadrackomileke@gmail.com

Abstract

In the context of postcolonial Nigerian theatre, Oba Mosebolatan by Kehinde Akano offers a powerful dramatization of conflict, identity, and cultural politics. This paper explores how the playwright critiques elite authoritarianism and reimagines communal justice through indigenous Yoruba aesthetics such as chants, ritual performances, and masquerades. Using Marxist literary theory and cultural theory as analytical lenses, the study examines how Akano stages power, resistance, and reconciliation, offering a unique model of governance rooted in ancestral ethics and performative tradition. The analysis reveals that conflict resolution in Akano‘s drama is not only ideological but symbolic and restorative—underscoring the value of indigenous cultural frameworks in addressing contemporary African socio-political crises.

Keywords: Yoruba theatre, Kehinde Akano, conflict resolution, dramatic aesthetics, cultural theory, Marxist criticism, Oba Mosebolatan

Introduction

In postcolonial African societies, literature—particularly drama—has emerged as a vital space for negotiating power, identity, and cultural continuity. The Nigerian stage, especially Yoruba drama, has long functioned as a mirror reflecting the sociopolitical tensions that arise when indigenous traditions intersect with modern state structures. Within this context, the work of Kehinde Akano stands out for its dual engagement with ideological critique and cultural affirmation. His play, Oba Mosebolatan, dramatizes a succession conflict that evolves into a broader commentary on leadership failure, elite manipulation, and the erosion of communal values. While the Nigerian dramatic tradition features the canonical works of Soyinka, Osofisan, and Obafemi, Akano‘s contributions have received limited scholarly attention, despite their rich engagement with traditional aesthetics and postcolonial anxieties.

The Nigerian theatrical landscape, particularly within the Yoruba tradition, has long functioned as a cultural canvas upon which themes of conflict, authority, and communal identity are projected and contested. Within this context, drama serves not merely as entertainment but as a socially charged discourse capable of diagnosing societal fractures and proposing culturally grounded solutions. As Barber contends, Yoruba popular theatre operates at the intersection of performance and everyday life, engaging audiences in the critical reflection of lived realities (18). Irele similarly underscores the centrality of performance in articulating the African imagination, especially where myth, memory, and morality converge in narrative form (43). A growing body of scholarship has explored how African drama stages conflict as a process deeply embedded in the communal ethos of traditional society. Adelakun observes that Yoruba theatre often presents conflict as a ritualised negotiation that privileges reconciliation through indigenous epistemologies rather than the imposition of external juridical frameworks (156). This assertion is reinforced by Aboyeji, who emphasises that traditional Yoruba communities employ proactive cultural mechanisms—such as rites, proverbs, and elder mediation—to prevent or mitigate conflict before escalation, thereby foregrounding peace as a socially embedded ideal (201). Adeniyi contributes to