The Drama ‘THE ABSOLUTE POWER’ is a satiric play, which mocks the activities of our corrupt politicians. It mirrors how few people, placed at the helm of affairs, share national cake, for their selfish interest. The play is an apocalyptic satire. It prophesies the looming danger in the future, if our political leaders are not careful. However, the most unfortunate thing about the masses is that they are not aware of their collective power! The struggle continues until masses wake up from their SLUMBER!
Night descends on the sleepy town of Umuocha. Bolts of lightning tear at the dark sky and deep growls of thunder rage in the background. A rainstorm is imminent. It is cold and silent with howling wind and whispering voices coursing across the shanty huts as the heavens suddenly open in the pitch darkness. The isolated pitter-patter of hurrying footsteps of drenched villagers and splashes of raindrops occasionally pierce the void. But in the dank room of Ujunwa, a commoner, there are no hushed sounds; only moaning as she writhes in pain from childbirth labour. She is alone, stoic, and steely. In the same hour in the neighbouring kingdom of Umuakpi, there are moanings also and with groanings. The moaner is King Umeh, the ruthless monarch in Umuakpi. He turns and twists on his royal bed from a troubling dream. At dawn, Okosisi, Umeh’s sly and trusted soothsayer, saunters into the secret chambers of King Umeh and tells him his night dream foretells of the birth of a seed of the gods who will be king and rule “far and wide.” But he assures the worried king the gods have also said, “No man shall take your kingdom away from you.” Not completely satisfied, both men hatch a devious plan to steal the child and raise him as a prince of Umuakpi. But three seasons later and on the eve of another conquest for King Umeh, Onyinye (or Agu), the now-grown crown prince, finds he must first conquer a battle of his own identity and restore balance in all the lands for his own sake and the destiny of the Greater Anioma kingdom. He knows this could change everything... for good or for bad... forever.
The journey of a hunter had led him to a mysterious talking Deer, a hard decision for him to make, whether to set its free or offer its as a gift to the king in order to be immensely enriched? The labyrinth of fate tangles with faith. What decisions will Ade, the hunter make? And how will this decision determines his fate?
"Romance of misery” is a play written in a typical African setting. Though it has limited Afrocentric contest as the characters indubitably transmuted in a pragmatic manner, the dilemma envisage in our human predominant societies. The play captures the misery which befalls Nkechi as she struggled to gain admission into the prestigious University of Nigeria Nsukka, Enugu state. And the emotional disconnect that erupted in all the facet of her life as her mother turned to be a thorn on her flesh. More so, the play captures various act of life struggle by the youths in Nigeria, as a result of political cum environmental discontent. The play also unveiled the success thereof, when diligence, hard work and creativity is initiated in a particular contest.
AT ONE'S FIST (An African Play - Short Explication/Illustration.) Opportunity only knocks once, the next one may be better or worse, but never the same one. That's why we need to be prayerful so that we can make the right decision at the right time.
What's so mysterious about a letter that ordinary people are scared to read it? Having read the letter, Father, Mother and son lose their lives. Wouldn't you agree that we need our spiritual contractors to unravel this? Why not open this page-turner to see who eventually helps demystify the mystery -an exposé?
Sosai Mami take jin dadin zama da Aisha don kuwa yarinyar bata da kyuiya duk abinda ta sakata shi takeyi. Itama kuma Aisha tana jin dadin zamanta da Mami don kuwa Mami mutum ce mai alkhairi da kuma son mutane, gashi kuma a komai bata yin bambanci tsakaninta dasu Ummie da suke 'ya'yanta komai tayi musu itama shi takeyi mata. Ko tana da matsala a zamanta a gidan to da Farida nel data takura mata ta hanata sakat don ko wasa sukeyi da Ummie idan tazo wurin to ta barshi. Sai ko Mu'azzam shima yana takura mata amma ba kamar Farida ba, shi kam Yaya Khalifa babu ruwanshi don baya na shiga harkarsu...
“ODUDUWA, KING OF THE EDOS” is a play, which explores the true identity of an ancient African King who was believed amongst numerous competing historical accounts to have come down from the heavens (skies) to found the present day Yoruba people of South-Western Nigeria. It attempts to draw congruence between mythical accounts of his origin which are found in the oral traditions of the Edos of present day Mid-Western Nigeria, those of the Yorubas of Ile-Ife in particular, and Western Nigeria in general, while imagining an explanation as to the divergence in their accounts. It seeks to answer the questions: was Oduduwa a god that ruled men, the first creation of the supreme God, an exiled Edo prince or was he a mere mortal whose leadership qualities became legendary and thus exalted him to the status of the progenitor of the Yorubas?
Yau ma kamar kullum suna zaune su biyar suna karyawa a dining area... Janan ce ta kalli Abba tace "Abba ni kam dama ka barmu muna driving da kanmu wallahi zamu iya" Kallonta yayi fuskarshi d'auke da murmushi yace "kiyi hak'uri Janan nafi son driver yana kaiku daga baya idan karatunku yayi nisa zan iya baku mota,ita fauziyya ma da take l2 bata yi magana ba sai ke da kike yin diploma" "Amma Abba....." "Kimin shiru Janan,na gama yanke hukunci driver na jiranku a waje Idan kun gama " Tashi yayi ya haye upstairs ya barsu. Ran Janan a b'ace ta kalli Mameey tace "dan Allah mameey ki saka baki a maganar nan Abba ya fahimce mu,we ar matured enough ba sai ana had'a mu da driver ba"...