THE second session of the #CORALiterarySeason 2.0 held July 13, 2025, provided a platform to robustly explore African literature through the lens of one of its foremost voices, Ngũgĩ wa Thiong’o. Beyond being a veritable chance to critically appreciate literature, it was also a cultural convergence of students, scholars, writers, and performance artists.
The Committee for Relevant Art (CORA), in keeping with its mission to promote relevant artistic and intellectual engagement, curated an interactive and multidisciplinary experience that merged literature, orature, critique, and live performance. It was however executed by the 34-year old organisation through its CORA Youth Creative club, a constellation of youths mostly recent graduates and current students in tertiary institutions, and other youths mobilised via Book Clubs and other such literary activist/enthusiasts organisations.
Featuring in-depth discussions on Ngũgĩ’s I Will Marry When I Want and The River Between, the programme offered a layered interpretation of postcolonial African realities, language politics, resistance, and liberation. The session commenced with evocative readings of excerpts from the two texts — The River Between by Nathan Olawoyin, and I Will Marry When I Want by Kelani Mercy. By especially focussing on the central conflicts in each text, the readings introduced the audience to the thoughts and linguistic aesthetics of Ngũgĩ’s works; thus priming both in-person and online attendees for the rich dialogue that followed.
Panel Discussion: Text and Context: The heart of the session was a moderated discussion led by Sodiq Adesokan, who set the tone with a thoughtful contextual framing of both texts. He guided the audience through thematic touchpoints such as:
On seat and virtually, four panellists explore profound attributes of Ngugi’s works as a literary activist: Grace Oni provided a feminist reading of I Will Marry When I Want, emphasising the marginalisation of women under both colonial and capitalist structures. Folorunsho Kehinde analysed class dynamics and neocolonialism through the lens of the play’s working-class protagonists. Taiwo Ayeni explored the thematic use of landscape and river as metaphors for transition and turmoil. Chiejine Onyebuchi contributed insights on Ngũgĩ’s stylistics and theatricality, noting the deliberate fusion of oral tradition and political messaging. The discussion was essentially participatory, with students engaging in brief Q&A both physically and through the virtual chat platforms.
During an hour-long recess, four spoken word artists lightened the mood of the gathering with their impressive renditions and performances.Israel Idara, Uwadiae Ranmwen, Im Osewa Eniola, and Ololade Eniola each performed original pieces inspired by Ngũgĩ’s life and texts. Their performances were emotionally resonant and intellectually charged, echoing themes such as: Colonial Trauma and Healing, The Role of Language in Shaping Identity and The Call for African Youth to Reclaim History. These acts reminded the audience of the power of orature in African literary tradition— a medium that Ngũgĩ himself consistently championed all through his over six-decade career as a writer and teacher of literature. The spoken word pieces, described by many as “poetic resistance,” helped soften the intense academic discourse with emotional catharsis.
Critical Reflection: Life And Literature: Held between 3 pm and 4 pm, the final segment of the session featured a reflective roundtable on the theme, Critiques: Life and Literature, in which Ayeni Kehinde Silas, Yinka Adetu, and Temilola Olukunle critically engaged with Ngũgĩ’s personal journey and ideological legacy. Topics discussed included: Ngũgĩ’s Political Evolution: From an English-writing liberal to a radical, imprisoned playwright and decolonial theorist; The Role of the Artist in Society: How Ngũgĩ embodies the writer as activist, critic, and reformer; and The Global Impact of African Literature: The discussants situated Ngũgĩ’s relevance in a global discourse, noting his influence on diaspora writers, language politics, and social justice movements.
The session closed with the consensus that Ngũgĩ wa Thiong’o is more than a writer: he is an institution, whose work transcends literary boundaries and enters the terrain of ideological warfare, cultural revivalism, and historical reparation.
Audience and Participation: The event was attended physically by 38 students from Lagos State University (LASU), University of Lagos (UNILAG), and Federal University Oye-Ekiti (FUOYE). Others, including students, educators, and invited literary guests, joined the session virtually. The hybrid format ensured wide reach and inclusive participation, allowing for a broader pan-Nigerian and pan-African conversation.
The second edition of the annual #CORALiterarySeason (July) was indeed a resounding success. An immersive, educative, and artistic encounter with African literature’s political and cultural power. Through the lens of Ngũgĩ wa Thiong’o, the session illuminated critical issues at the heart of African existence: colonial residue, cultural authenticity, and the continuing battle over memory and meaning. As CORA continues to invest in such spaces of reflection and engagement, it affirms its role as a custodian of Africa’s literary heritage and a facilitator of critical consciousness among the next generation of thinkers and creators.
