In an emotionally charged evening on October 4, 2025, Nigeria’s Nobel Laureate, Prof. Wole Soyinka, delivered stirring reflections as the National Theatre, Iganmu, Lagos was officially renamed after him. The ceremony—attended by President Bola Tinubu, traditional rulers, leading artists, and cultural elites—became the stage for Soyinka’s revelation: “Over the years, I discovered that I am not really real, that I am a bit of a dramatic creation by some anonymous artistes.”
This poignant admission—part philosophical observation, part wry commentary—serves as both a metaphor and critique, touching on issues of identity, legacy, representation, and cultural monumentality in Nigeria. Below is an in-depth look at what Soyinka said, the broader context, and implications for national culture and collective memory.
What Soyinka Said — Key Highlights
1. Mixed Feelings About the Honor
Prof. Soyinka began his speech with acknowledgment of long-held ambivalence toward naming institutions and monuments after individuals. He admitted that seeing his own name on the National Theatre felt unsettling, given his prior criticisms of such appropriations.
2. A History of Neglect and Danger
He recalled how the theatre building—erected during a military government and derisively called “the General’s hat” because of its roof’s shape—had deteriorated over time. Leaking roofs, exposed wire work, and pools of water once nearly electrocuted two actors during performance.
3. Renaming as a Collective Decision
The act of renaming was sponsored by a banking consortium, “with a great ‘conspirator’ in the President,” as Soyinka put it. He accepted the honor partly out of nostalgia, partly out of a sense of obligation to cultural predecessors—Playwrights like Hubert Ogunde, Dola DiPPo, and music composers whose contributions are often less recognized.
4. Identity and the “Dramatic Creation”
The most striking part of Soyinka’s reflection was his claim that he has become, through public discourse and artistic mediation, something partly fictional. He said that every public act, even silence, gets interpreted as dramatic theater. He seems to be observing how public perception, media, and artistic framing reconstruct an identity beyond the individual.
5. A Call to Young Artists
In urging emerging playwrights, actors, and cultural producers to draw inspiration from African drama at home, Soyinka emphasized the need for the theatre to thrive not only as monument but as living, breathing institution—one that nurtures, critiques and propels culture.
Context and Cultural Significance
National Theatre’s Legacy: The National Theatre was built for FESTAC ’77, envisioned as a cultural hub for Africa in Lagos. Over time, it fell into physical disrepair and institutional neglect—many felt it was more a symbol than a working theatre.
Monuments and Memory in Nigeria: The debate around naming institutions after people is not new in Nigeria. While honoring giants of arts, politics, or activism can preserve memory, overdoing it risks turning cultural spaces into ossified monuments devoid of their original vitality. Soyinka’s mixed feelings reflect this tension.
Public Persona vs Private Self: Soyinka’s phrase “not really real” suggests the gap between the man and the icon. This echoes broader questions about how public intellectuals are shaped by external narratives—media, political appropriation, fandom—and how those narratives can sometimes feel more real to the public than the individual’s inner self.
Implications for Culture, Identity, and Legacy
1. Authenticity vs Symbol: Soyinka’s remarks challenge the society to see beyond the symbolic, to ensure that institutions named after great figures function meaningfully—not just in name, but in action, performance, and community engagement.
2. Duty to History and Predecessors: By invoking the memory of his predecessors and of the theatre’s role in Nigeria’s cultural memory, Soyinka emphasizes continuity and responsibility, not just for him but for those who will come after.
3. Ownership of Identity: The idea that he has become a “dramatic creation” underscores that public identity is often collectively constructed. It invites reflection on how narratives are made: who writes them, who perpetuates them, and how much control someone has over it.
4. Role of Artists and Institutions: For emerging artists, the revitalized theatre being named after Soyinka is more than an honor—it’s a platform. It is a challenge to rise to the standards and complexity implicit in carrying that name.
5. Cultural Memory and National Discourse: The renaming of the theatre sparks debates over what and who deserves permanent commemoration, and whether Nigeria’s cultural infrastructure deserves more than symbolic gestures.
When Wole Soyinka declared, “I discovered that I am not really real,” he was not merely speaking of himself—he was speaking of artistry, image, culture, and collective memory. In that unique blend of humility and philosophical insight, he forced Nigeria’s cultural elite, policy makers, media, and its people to reflect: what does it mean to name something after someone? What happens when the named becomes a symbol? And what is the real cost of neglecting form in favor of facade?
The National Theatre may now bear his name, but Soyinka’s hope seems to be that it won’t just stand as a monument—it will live as a breathing testament to Nigerian culture, creativity, critique, and community. His legacy demands no less.
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