Analysis of Bosede Ademilua’s “Once upon an Elephant”

BACKGROUND OF THE PLAY

“Once Upon an Elephant,” a play by Bosede Ademilua-Afolayan, dives into the intricate realm of leadership in Nigeria and the broader African context, emphasizing the recurring issue of dictatorship. This play explores the merciless quest for power and the communal fight to reinstate democracy in a nation gripped by authoritarian rule. Through themes of political maneuvering, secrecy, and oppression, it reveals the devastating impact of dictatorship. Yet, amidst the turmoil, a glimmer of hope arises as key characters—Iya Agba, Desola, Odekunle, and Delani—unite to confront the despotic ruler, Ajanaku, the “elephant” on the throne.

SYNOPIS

The play narrates the story of Olaniyonu, who self-proclaims himself as a mighty ruler called Ajanaku (the Elephant). His controversial rise to power happens through the sacred Olubori rites and is orchestrated by Serubawon, a shrewd manipulator who ignores objections from key kingmakers, even though the current king, Oba Akinjobi, is still alive but gravely ill.

Once Ajanaku seizes power, he quickly confirms the chiefs’ worst fears by ruling with terror and abusing his office. His tyranny peaks when he seeks immortality through the perilous ljedodo rites, which require the blood of a virgin. Urged on by Serubawon, Ajanaku proceeds with the ritual, inadvertently selecting Serubawon’s own daughter, Desola, as his latest victim—the sixth in this grim series.

However, just before the ritual is completed, Iya Agba intervenes, breaking the spell and saving Desola. Ajanaku meets his demise, and Desola is restored to health. It is revealed that Serubawon is the mastermind behind Oba Akinjobi’s mysterious illness and is actually Olaniyonu’s true father. Additionally, Serubawon is exposed as the one responsible for Iya Agba’s humiliation and banishment from the palace. With his machinations unveiled and his reputation shattered, Serubawon ends his own life.
With the tyrants removed, peace finally returns to the land.

SETTING

Once Upon an Elephant is set in a tranquil Yoruba village, steeped in tradition and untouched by foreign influences. Taking place in a precolonial era, the story captures the simplicity and harmony of communal life, where culture and customs shape everyday existence.

Beneath this serene setting, however, lies a deeper reflection of Nigeria’s and Africa’s broader political landscape. The narrative subtly mirrors contemporary political challenges, using historification to draw striking parallels between the past and present. Through this temporal lens, the story offers a powerful commentary on modern issues, revealing their enduring roots in history.

CHARACTERS/ CHARACTERIZATION

1.Ajanaku (Olaniyonu) – Ajanaku is the main antagonist of the play, destined to succeed King Akinjobi. He is a ruthless and power-hungry individual who uses bribery, intimidation, and violence to secure his reign and pursue immortality. He perpetrates the gruesome Ijedodo ritual, which involves the ritualistic rape of virgins to sustain his immortality. His reign of terror ends when Iya Agba severs his supernatural connection to Desola, and Odekunle binds him with a charmed red cloth, rendering him powerless.

2. Serubawon – The palace priest, medicine man, and leader of the kingmakers, Serubawon is a deceitful and manipulative figure. He has an affair with Adebisi, one of King Akinjobi’s wives, resulting in the birth of Ajanaku. He schemes to place Ajanaku on the throne and engages in treachery to secure his rule, including slandering Iya Agba. He facilitates the Ijedodo ritual, even sacrificing his own daughter, Desola. When his misdeeds are exposed, he takes his own life in shame.

3. Iya Agba (Omofadeke Adunni)– The eldest wife of King Akinjobi, Iya Agba is falsely accused of infidelity by Serubawon and Adebisi, leading to her banishment. Despite her suffering, she remains steadfast in her pursuit of justice. She uncovers the truth about Ajanaku’s illegitimacy and his horrific crimes. At the Jobele festival, she publicly exposes the palace conspiracies and orchestrates Ajanaku’s downfall and Desola’s healing.

4. Desola – The daughter of Serubawon and Demoke, Desola is engaged to Odekunle. She is abducted and raped by Ajanaku as the final victim of the Ijedodo ritual, which causes her physical deterioration. At the Jobele festival, her embrace of Ajanaku weakens the ritual’s hold on her, and she is restored to health.

5. Odejimi – A member of the Hunters’ Guild and a kingmaker who upholds tradition, Odejimi rejects Ajanaku’s bribes and opposes Serubawon’s unlawful imposition of Ajanaku as king. His son, Odekunle, is engaged to Desola and plays a role in Ajanaku’s downfall.

6. Demoke – The wife of Serubawon and mother of Desola, Demoke is complicit in the false accusations against Iya Agba, helping to banish her from the palace. Her role in this deception contributes to Iya Agba’s suffering.

7. Omoyeni – Deeply in love with Delani, Omoyeni is tragically forced into marriage with Ajanaku. Despite her circumstances, she carries Delani’s child and reunites with him by the end of the play.

8. Odekunle – The son of Odejimi and fiancé of Desola, Odekunle attempts to protect Desola but is overpowered and beaten by Ajanaku’s men. He ultimately avenges her by binding Ajanaku with a charmed red cloth, breaking the ritual’s power and leading to Ajanaku’s downfall.



Other characters

9. Iyale – Odejimi’s wife and Odekunle’s mother. She’s unlike most of the villagers as she keeps a friendly relationship with Iya Agba and often confides in her. Iyale is the one to inform Iya Agba about Desola’s declining health.

10. Delani – Omoyeni’s lover who faces threats from Ajanaku after Ajanaku forcefully takes Omoyeni from him. Eventually, it’s revealed that Delani is the father of Omoyeni’s child.

11. Odegbami – A steadfast member of the Hunters’ Guild who stands against Serubawon’s scheme to install Ajanaku as king.

12. Ogundele – Another member of the Hunters’ Guild, but unlike Odegbami, he succumbs to bribery by Ajanaku and supports Ajanaku’s claim to the throne.

13. Akinjobi – The ailing king before Ajanaku. Although he never appears on stage, his prolonged illness is a frequent topic as it delays Ajanaku’s ambitions. Ultimately, Akinjobi is betrayed by those close to him, including Serubawon and Adebisi, and deceived in his final days.

14. Adebisi – Akinjobi’s younger wife and Ajanaku’s mother. Though she never appears in the play, she plays a crucial role in the story. She secretly engages in an affair with Serubawon, resulting in the birth of Olaniyonu (later known as Ajanaku). To hide her infidelity, she conspires with Serubawon to falsely accuse Iya Agba of unfaithfulness, triggering a chain of deceit, power struggles, and the unlawful attempt to crown Ajanaku.


Style and Literary Devices

1. Diction/Language:
   The play employs simple and clear English, which makes it approachable for a wide audience. The playwright also weaves in indigenous Yoruba words and cultural references. For example, “Ajanaku,” meaning “elephant” or a strong individual in Yoruba, is used metaphorically to represent an oppressor or dictator in the play. Similarly, “Baale,” meaning “my husband” or “my lord,” is used by Iyale to address her husband, Odejimi.

2. Foreshadowing:
   Foreshadowing is used to hint at future events in the story. For instance, Ogundele, a hunter, expresses his suspicion about Serubawon’s motives, saying, “…until we know why Serubawon suddenly wants our values twisted, we are clutching at nothing” (pg. 19). This statement subtly hints at the later revelation by Iya Agba that Ajanaku is actually Serubawon’s son.

3. Use of Innuendo:
   Innuendo, an indirect or often malicious implication, is frequently employed by Iya Agba. One notable instance is when Ajanaku insults her by calling her mad, and she responds, “The lizard may resemble a crocodile, but they are certainly different” (pg. 36). This veiled remark implies that Ajanaku is not Akinjiobi’s biological son and is therefore unfit to be king.

4. Dramatic Irony :
   Dramatic irony occurs when the audience knows something that the characters do not. A key example is when Ajanaku arrogantly claims responsibility for Omoyeni’s pregnancy, while the audience is aware that the child actually belongs to Delani.

5. Situational Irony:
   Situational irony arises when events unfold in unexpected or contradictory ways. In the play, Serubawon’s cruelty ultimately backfires, leading to his daughter Desola’s tragic rape and his own eventual suicide. Likewise, Ajanaku, despite his power and arrogance, meets an unforeseen fate—his own death by the end of the play.



THEMES

1.Dictatorship and the Persistence of Power:
The play delves into the theme of dictatorship, or “sit-tightism,” where leaders cling to power at all costs. These autocrats manipulate elections, suppress opposition, and extend their rule through coercion or deceit. While the theme is rooted in the African political landscape, it resonates globally, highlighting the universal struggle against leaders who prioritize personal rule over democratic governance.

2.Tyranny and Self-Serving Leadership:
Characters like Olaniyonu, the self-proclaimed Ajanaku, epitomize the reckless ambition of tyrants who seek power without considering its consequences. His actions reflect real-life leaders who put their own desires above the welfare of their people. Serubawon, the manipulative kingmaker, represents the enablers of tyranny—those who fuel oppression for their own gain. The play warns against the dangers of unchecked power and the complicity that sustains oppressive regimes.

3.The Elephant and the Tortoise Metaphor:
Drawing from Yoruba folklore, the play uses the metaphor of the elephant, which never seeks advice from the tortoise before assuming kingship. Similarly, Olaniyonu disregards legitimacy, relying solely on arrogance and force. This metaphor underscores the inevitable downfall of leaders who abuse power. Just as the elephant’s hubris leads to its demise, so do rulers who prioritize self-interest over justice and good governance.

4. Brutality and the Abuse of Authority:
Ademilua-Afolayan critiques the brutality of leadership, particularly in Africa, where figures like Idi Amin, Hosni Mubarak, and Sani Abacha ruled with fear and violence. Through satire, the play ridicules both Serubawon and Olaniyonu, condemning tyranny and the erosion of democratic values. It serves as a stark reminder of the consequences of despotism.

Written by Obed Yaw Agyei