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Mrs. Sylvia Ojei, founder/creative director, The Bamboo Theatre, in this interview with Tony John, talks about what the group is all about, where she got her inspiration, theatre as a medium to address social vices, what government should do, 16 years of the group’s existence and many other things. Excerpts:
Could you give an overview of what The Bamboo Theatre is all about?
The Bamboo Theatre is a contemporary intergenerational theatre that focuses on youth education, youth empowerment, social reformation and so much more. What is very powerful about Bamboo Theatre is the use of theatre as a tool for this development. With theatre, we call it a rehearsal for reality. We use theatre to inform, educate, entertain and to direct. It is also a very safe space – bringing like minds together. We show them the benefits of joining the theatre; it enables them to be free to speak. Also, we use different forms of art to help the youths. We have the Town Hall Show. What we do here is to bring like minds together, discuss problems common in their society. It is theatre for the people, with the people and by the people. So, these people find their own problems, solve their own problems, make different changes with their own problems. At the end of the day, they easily come out empowered and know how to solve their problems by themselves. We also have another wing, the National Literature Alive Project, which is what we are working on now. It is the initiative of Bamboo Theatre. What we do is that we go into different schools; we awaken the passion for Literature in English. You know, sometimes, theory can be very boring. But, when you introduce practicals to it, they understand every single thing about it. So, the ideas of the National Literature Alive Project is that, we are going to bring literature alive just as the name implies. So, the function of what we are doing is that, we are bringing this stage to life, so that people can see it and understand. What you see sometimes, you don’t forget it. What you see sticks completely. So, that is where we are coming in as auxiliary.
What actually led you to this aspect of learning?
I come from a very art-loving family. My late father was a theatre artist. When he was alive, he directed plays, wrote poems. He was a poet and a musician. He loved art. All through my growing up, I watched him doing all these. So, I fell in love with art easily. I am nothing doing it because I want to be like him. I am very passionate about it. I love to see development. I love to see mindset rehabilitation. Most times, talking could not do the work. Action, active participation does the work very easily. Active participation is a very vital key.
What makes you happy?
I love seeing positive growth in the lives of people. So, I am happy when someone is happy because I made the person happy. We are using theatre to change the perspective of life; using theatre to make them see themselves for the first time. Using theatre to help them with their voices, makes me happy honestly, not even the money – just seeing people being empowered.
How would you explain theatre art to a layman who sees it as a process of becoming a Nollywood artiste?
Of course. A lot of people see theatre as being all about acting. It is not. Theatre is very powerful, with different facets. We have more than 10 facets. We have acting, directing, producing, community development, costume construction, cinematography, philosophy of art and others. Where I am coming from is community theatre. It is more of community development. I studied Theatre and Global Development in my Masters Degree apart from studying Theatre in my Bachelor’s Degree. The reason these facets are very important is because each one tells a story for more understanding. So, if you don’t want to be an actor, there are other areas. All of them work together.
Apart from coming from an art background, what actually inspired you?
In fact, what inspires me to bring this initiative to life is the fact that I am passionate about seeing the youths empowered. The mindsets of youths are very rich. And with theatre, you could easily permeate their mindsets – allowing them to act out everything they are supposed to act, to be their own helper, and their own solution. In Nigeria and outside, for instance, I have seen how things are done. I have seen lack of zeal for education, social media abuse, lateness to school and students who are not passionate about the subjects they are studying. I have also seen students that are failing their examinations just because of these things I mentioned that are lacking in them. Most of these students are not privileged enough to go to theatre to see things themselves. What inspired me is I want to see them empowered and successful loving theatre art – becoming popular like Wole Soyinka, Chimamanda Adichie. That’s what gives me the drive.
Bamboo Theatre sounds symbolic. Why did you choose the name?
I wanted something that has structure. You know the bamboo is one of the strongest trees we have. Breeze would blow, it will not fall. Natural disaster would occur, it would stand. I wanted my theatre name to have that same link. When the name is mentioned, I am always thinking of resilience, newness, empowerment, strength formation. The Bamboo Theatre stretches out to so many things.
What can you say the Bamboo Theatre has achieved in the last 16 years of existence?
I would say it has achieved a lot of things. There are struggles, definitely, but it has recorded some achievements. One, I have seen a lot of confidence in the children that passed through us. There are great changes in their attitude and behaviour. Number two is empowerment; three is having a voice. It has also helped women to have self-love for themselves, their homes and families, work place.
What setbacks have you experienced?
It is people not believing in your dreams and visions. Just because they hear theatre, they think it is all about acting. They think it is just a waste of time.
How do you combat social vices with The Bamboo Theatre?
I don’t think we can ever fix social vices in this world. Like I said, if we can reach 10 people, two persons, it is a big step. But, how we address it is the issue. That is where this Town Hall theatre comes in. Most times, these organisations come into communities, speak and give out packs or bags of things to use that do not have a long-term effect. That is where this Bamboo Theatre is powerful. It is called Rehearsal for Reality. We are focusing on the youths. We give the children the opportunity to talk about the problems they are experiencing like drug abuse. They tell their experiences, or the experiences of their friends or family members. We give them the opportunity to create a short play of that experience. After that play, we have what is called intervention period, when two or three persons from the audience come on stage to change one or two things.
How can you use theatre to dissuade teenagers from get-rich-quick syndrome?
Last time, we had the same issue – this social media, get-rich mentality. We had drug abuse. Like I said earlier, it is why there is this forum theatre. It is a very delicate issue. You know, you cannot walk up to someone and tell the person change. The person will not change. That is where self-reflection comes in. The Town Hall theatre allows you to have a reflection – you speak about your problem. The fact you even know you have a problem, is step and a change. Discussion is very key; forum dialogue is very key.
Do you profile people that come to you?
We do that to protect others. We try as much as possible to profile. And at the same time, we don’t reject, because we are like a hospital. We focus on people that have problems. We don’t focus on status. We go into villages, communities, government-owned schools, where children who are not privileged are found. We are trying to reach out to people who want change but do not have the opportunity.
Do you have any message for government or corporate organisations?
Government should prioritize education. A lot is going on in the country. There is lack of security, no good education, social amenities and other issues. The government focuses on things that are irrelevant. Government should prioritize people-oriented programmes. Where attention of government is not on the people, they people are bound to be exposed to danger.
What do you want to achieve with your forthcoming programme at the University of Port Harcourt?
I want the students to pass their WAEC examinations – their Literature in English. I want their results to be better than what it used to be. At the end, we want to see the effects of what we have done. Also, I want government to see that there is something that is possible; to see that there is something possible in private initiatives to help the people. I want them to begin to appreciate Literature in English.
Are you bothered by the way youths nowadays are glued to their mobile phones than education?
I am very bothered. But the truth is, we are in a computer age. Everything is about balance. In today’s world, if you do not know AI (Artificial Intelligence), you would be lost. Everything is evolving and you need to follow the trend. Telling your child not to have this is not the answer. The answer could be tell your child there is a time for everything. Let them understand the basis of all this.
What would you want to be remembered for?
I want to be remembered for making people happy through my works.
