Duro Ladipo

Duro Ladipọ (1931–1978) was one of the best known and critically acclaimed Yoruba dramatists that emerged from postcolonial Africa. Writing solely in the Yoruba language, he captivated the symbolic spirit of Yoruba mythologies in his plays, which were later adapted to other media such as photography, television and cinema. His most famous play, Ọba kò so (The king did not hang), a dramatization of the traditional Yoruba story on how Ṣango became the God of Thunder, received international acclaim at the first Commonwealth Arts Festival in 1965, and on a European tour, where a Berlin critic, Ulli Beier, compared Ladipọ to Karajan.[1] Ladipo usually acted in his own plays.

Early life

Duro was raised in a Christian family, his father was a minister at an Anglican church in Oṣogbo. However, Duro may have been influenced by his grandfather, who migrated to Oṣogbo after the Jalumi war. His grandfather was well versed in Yoruba mythology, especially those emanating from Old Ọyọ, and was known to have worshipped Ṣango and Ọya.

Career

Ladipọ tried hard and succeeded in exposing himself to traditional and Yoruba cultural elements especially when living under the veil of a Christian home. At a young age, he would sneak out of the vicarage to watch Yoruba festivals. This fascination with his culture goaded him into researching and experimenting with theatrical drama and writing. After leaving Oṣogbo, he went to Ibadan, where he became a teacher. While in Ibadan he became one of the founding members of an artist society or club called Mbari Mbayo and became influenced by Beier. He later replicated the club in Oṣogbo and it became the premier group for promoting budding artists and dramatists in Oṣogbo. Throughout his career, Duro Ladipọ wrote ten Yoruba folk operas combining dance, music, mime, proverbs, drumming and praise songs.

He started his theatre group in 1961 but he became fully established with the founding of the Mbari Mbayo Club in Oṣogbo. His popularity as a folk opera group really rests on his three plays: Ọbamoro in 1962, Ọba ko so and Ọba Waja in 1964. (Ọba Waja - "The King is Dead" - is based on the same historical event that inspired fellow Nigerian playwright Wọle Ṣoyinka's Death and the King's Horseman.)[2] He also promoted Mọremi. He later transformed the Mbari Mbayo into a cultural center, an arts gallery and a meeting point for young artists seeking to develop their talents. Duro Oladipọ wrote quite a number of plays, such as Suru Baba Iwa, Tanimọwọ Iku. Some of his plays were also produced for television. In fact he created Bode Wasinimi for NTA Ibadan.

In 1977, Ladipọ participated in Festac '77, the Second World Festival of Black and African Arts and Culture, in Lagos, Nigeria.

DEATH


Duro Ladipo death have become a misery in which many generation cants belived. He turn himself to be a powerfully man like SANGO via his research about this SANGO. This research was based on 'how did SANGO (gods of thundered) split out fire' he Duro Ladipo become gods by virtue of this or can we say he was immured or initiate by SANGO to the extent that he started splinting out fire and raining thundered. Duro Ladipo was said to have contacted an infection from his leg, so that it leads to be amputate at UCH Ibadan. Prior to his death it was said that thundered cover the whole area of UCH Ibadan till the following death day of Duro Ladipo. Duro Ladipo have established himself as a small gods in which a lot cannot be said about him. By 2019 Nigeria will celebrate his 40yrs of his demise.

Notes

  1. ↑ Ulli Beier, p.c. (1965) to Prof. Herbert F. W. Stahlke.
  2. ↑ Soyinka, Wole (2002). Death and the King's Horseman. W.W. Norton. p. 5. ISBN 0-393-32299-8.

References

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