Theme of African Culture in the Drama Once Upon An Elephant by Bosede Afolayan

Introduction

One of the O-level examinations conducted just asked candidate to "Examine the theme of African Culture in the drama Once Upon An Elephant by Bosede Afolayan". I have therefore taken it upon myself to answer the question for the benefit of candidates who might encounter similar question in the future.

Theme of African Culture in the drama Once Upon An Elephant by Bosede Afolayan

 In the drama, there are many cultures affiliated with Africa_ most especially the Yoruba culture. Few of those are the African form of coronation, African way of primitive courtship, etc.

This enlightening work of art by Bosede Afolayan, showed how courting was been done in the time past within an African setting. A case study to point to is Odekunle and Desola. They were lovers; they always rendezvous in the bush, path to the streams and under farm trees. Whenever they meet, they chat romantically while discussing their wedding plans and blah blah blah.

Another instance of African Cultural promotion in "Once Upon An Elephant by Bosede Afolayan" is the process towards the coronation of Olaniyonu (aka Ajanaku). It was noted in the drama, how Serubawon was constantly fortifying him with libations, inca Intations, and charms_ as that he could reign like a demigod.

Conclusion:

Once Upon An Elephant by Bosede Afolayan is a tragic drama about greedy quest for power. The author or playwright is a Nigerian and a teacher of language.

Go ahead to add your opinion regarding this post in the comment box below. Kindly share the post to all social media platforms by using the share button on the blog.

Feel free to motivate the writer of this post by clicking the BuyMeACoffee.

Read More Topics Shown Below>>>

Read More

The Remains of Raymond Hoe (Part 1)

THE REMAINS OF RAYMOND HOE

Fellow friends and fellow foes

Wait, let me tell this tale of woe

The way I know they wait below

Below my belly where they grow

For woe is me! My friends and foes

When I heard of Raymond Hoe

I screamed, I shouted no!

But why? And why Raymond Hoe?

But why this very man I know?

I've known Mr. Raymond Hoe

For ten and a year below

When we met at fashion show

He was nice, you should know

He was kind, and gently goes

He rhymingly uses o

Whenever he says hello

When I say to him also

“Good evening Mr. Hoe”

He says, “Hello, Mr. Sam o

How dey go dey go dey go?

How your wife and family o?

I hope they are all fine o.”

But why? And why Raymond Hoe?

But why this very man I know?

He was a one man Mopo

And used to wear polo

And loved to wear chino

And used to live solo

A divorcé, you should know

With no child no, no, no

With no kin no, no, no

With no pal no, no, no

But I thought with no foe

When I heard in my bungalow

When I heard this tale of woe

When I heard of Raymond Hoe

I screamed, I shouted no!

But why? And why Raymond Hoe?

But why this very man I know?

The very young Raymond Hoe

Who only had seven years to

Clock forty, you should know

You should know Mr. Hoe

He was an average fellow

He wasn't a rich fellow

He wasn't a poor fellow

He lived a room not a bungalow

To hide his head from mosquitoes

And the chills that always blow

Through the night to and fro

But why? And why Raymond Hoe?

But why this very man I know?

Two o'clock remained ten to

And the sun was in full glow

When they entered the room of Hoe

And found him lying solo

With his head on his pillow

Listening to music of Mario

 Through his ipodlike radio

Waiting beside his pillow

The earpiece hung above his lobe

Where he lay like log solo

Through his throat blood flow

Soaking Hoe from head to toe

But why? And why Raymond Hoe?

But why this very man I know?

Like goat, someone slaughtered Hoe

In his bed, on his pillow

But the murderer, I believe so

Sooner or later, you shall all know.

     Copyright ©  Samuel C. Enunwa July 21, 2011.

Read More