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Live theatre is in a state of hibernation –Akanbi

Yinka Akanbi is a director, song writer, performer, actor and one of the leading screenwriters today. He has produced and directed many programmes, and has collaborated with known names in the industry like Tunde Kelani, Tade Ogidan and Jimi Odumosu among others in the production of internationally acclaimed projects like ‘Saworo-Ide’, ‘Hostages’, ‘Owo-Blow’, ‘Out Of Bounds’,’ ‘White Handkerchief’, ‘Twins Of The Rain Forest’, and many others. In this interview with TONY OKUYEME, he talks about his career, Nollywood, live theatre, and why he wants to be President of Directors Guild of Nigeria (DGN)

You are a writer, director, song writer, performer and actor. Tell us, which of these came first? How?

I think all of these expressions of artistry have been there all along, finding the opportunity to be expressed. As a theatre graduate I specialised in playwriting as taught by the late Professor Ola Rotimi. God bless his soul. I also learned playwriting from Professor Wole Soyinka.

As a child, what really was it you wanted to be?

I really cannot recall ever wanting to become anything else outside what I’m doing now. The only time I made the mistake of wanting to become a lawyer I ended up not meeting the cut off mark. It was as a result of ‘egbekegbe’ (bad gang). It was the first time I disappointed myself academically and I didn’t find it funny. I would never make such mistake in my life. But I became an actor first, then a singer/song writer with Wole Soyinka giving me my first break with my performance of the “Song of the Lagoon Nomad” when Maroko was bulldozed out of existence. Then I became a TV director, producer, and finally, deliberately settled for directing.

So apart from what you wanted to be, how else was growing up for you?

Growing up was fun. It was a deeply cultural experience in Ibara Abeokuta with all the traditional festivals you can think of – egungun, igunuko, agemo, in Ibadan it was akoogun, and in Ijebu Ode when my father left us and went to the war front. So my childhood was cultural, political and the turmoil of the ‘wetie’ before the civil war. I lost my mum in October 10 1974.

Growing up also means independence. It means a lot. It means taking decisions for myself too early in life. What were some of your childhood experiences that shaped your philosophy about life?

My philosophy of life is live and let live. My father would drum that into my ears. You have produced and directed many programmes and has collaborated with known names in the industry like Tunde Kelani, Tade Ogidan, Jimi Odumosu in the production of internationally acclaimed projects like ‘Saworo-Ide’, ‘Hostages’, ‘The Mourning After’, ‘Owo-Blow’, ‘Out Of Bounds’,’ Madam Dearest’, ‘White Handkerchief’, ‘A Place Called Home’, ‘Twins Of The Rain Forest’, ‘Behind The Siege’ and so many others. Tell us your experience working with: Tunde Kelani, Tade Ogidan, Jimi Odumosu… Working with three masters of the art of filmmaking was at first so confusing to me. From Tade Ogidan, I learned the confidence to express the art in me. He has a way of tapping into all the talents in you and giving expressions to them. That’s why in one job of Tade Ogidan, when I’m not directing, I will be acting or singing. Sometimes I would be doing all. I have expressed myself most with Tade Ogidan. With Tunde Kelani, I learned how to be at home with my culture. My culture is the window through which I look out into the world. With Jimi Odumosu I learned to be extremely patient and detailed in my depiction. Tade Ogidan and Jimi Odumosu are two directors who stretched my patience and helped to set new boundaries. To work with these two giants you have to learn the art of patience.

Which of the movies would you consider as most challenging? Why?

All of them were challenging in their unique ways.

How would you rate the above mentioned films compared to today’s Nollywood films?

No artwork is better than the other. These works are classics and not to be compared with today’s jobs.

Why do you want to be the president of the Directors Guild of Nigeria (DGN)?

I have been in DGN as a director for more than 20 years directing films, documentaries, TV commercials and television series. I have a production company equipped with a sound studio and post production facilities. This comes with very huge experience. It’s combining artistry with the business of showbiz. I have a lot to pass on to the younger ones. My belief is that ‘True Greatness Means Great Service’, so I am seeking to serve. If elected president of DGN, I want to help in taking the guild to the next level by running an inclusive government where every member will have a sense of belonging. There will be a level playing ground for all to access the numerous benefits open to members. I want to make room for training and retraining of members so that our members would be in high demand. Then we can take possession of the creative environment by making sure only DGN members would be authorised to be hired as directors. Having worked within the system for so many years, I want to use my past experiences-the pains, the frustration and the survival story to be as learning tools for the younger generations.

What is your opinion about Nollywood?

N o l l y – wood is the next big deal. The w h o l e world will be at our doorstep when we are fully ready. The latent talent a n d energy is phenomenal. Like a volcano waiting to explode and set the horizon ablaze.

You write both in Yoruba and English. How do you combine this?

The proficiency I have in English language actually comes from my deep knowledge of the Yoruba language and culture. I am so at home with the two languages.

What are the challenges?

Training and retraining. You recently released a 10-track music album titled ‘AJO’, which was launched on the 27th of November 2016. The album is now on iTunes, and more than 20 other online stores. Tell us about AJO… Ajo is a summary of my life from childhood till date. It was inspired by my culture.

So, after ‘AJO’ what next?

After AJO I’m coming out with another album titled ‘YOU & I’. I’m still working.

What are your plans for 2021?

The world is so unstable for any serious plan. I’m going to be so flexible this year, one step at a time. That’s how to escape depression.

How would you describe live theatre in Nigeria today?

Though there are pockets of performances here and there, live theatre is in a state of hibernation. Theatre in a way, is in the hands of those who have money to spend but with some disregard for the ethics of the profession and those who are trained for the job are too desperate to feed to bother about defending and upholding what is professional.

Would you encourage your child to be an actor or actress?

All of them are art oriented and I love it.

How do you unwind?

I unwind with music.

I swim too. When I’m in traffic I play my music loud enough with my windows up. Music is an escape for me.

Have you been embarrassed?

Yes, so many times. But you know ‘actor no dey die’. Embarrassment is part of the show. I remember my first show at University of Ibadan (UI), my people in Ife had been used to my tiny voice but I was thrown off balance as the UI theatre audience made uncomplimentary comments about my voice. I couldn’t find my voice for a few seconds.

Any plans to go into politics?

I don’t think so

Tell us, how has Covid-19 affected your career as an actor, writer and filmmaker?

Covid-19 has literally put my livelihood on hold.

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