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DRAMA, NATIONAL IDENTITY AND SUSTAINABLE 
DEVELOPMENT  

 
Angel Nguemo Yakubu 

 
and 

 
Jerry Idah Odeh 

Department of Theatre Arts,  
Benue State University, Makurdi 

angellyakubu@gmail.com; odehidah@gmail.com 

Abstract 

This study examines the role of drama in formulating national 
identity and engendering sustainable development. The study aims at 
affirming the factorial attributes of drama in the formation of national 
identity and the transformation of any nation of the world. This is 
because drama expresses the feelings, thoughts, emotions, yearnings 
and aspirations of the people, thus, it is an appropriate mechanism for 
engendering development. The study uses qualitative research 
methodology through which content analysis approach is used for 
analysing Soyinka’s Death and the King’s Horseman. The study 
finds out that the formation of a formidable national identity 
ultimately depends on the commitment level and the love citizens’
exhibit towards the nation as a whole. The study concludes that, for 
good national identity to be created and sustained, a collective and 
decisive response to the challenges in the country must be done. The 
study recommends the Olunde spirit as panacea for national 
development and therefore encourages Nigerians to emulate the life 
of Olunde who demonstrates total allegiance and patriotism in order 
for his society to develop. The study also encourages playwrights and 
directors as well as other Theatre stakeholders to intensify their 
research into various cultural dimensions of the country and portray 
a good image of her.  

Keywords: Drama, National Identity and Sustainable Development 

Introduction 

The development trajectories of any nation of the world to a large extent 
are anchored on the nature of identity collectively formulated and 
exhibited by the people. The feeling of belonging, patriotism, nationalism, 



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commitment and selflessness exhibited towards the affairs of the nation 
are factorial indicators that determine the development level of the nation. 
Countries with such predisposition among their citizens find it easy to key 
their citizens into the nation’s agenda, articulate this agenda, push for 
reformations, call for referendum, return and discard erring political office 
holders. However, a close examination of the nation’s development would
reveal that, in spite of her enormous natural and human resources the 
country is still lagging behind. Perhaps, this has necessitated government, 
institutions, public spirited individuals and private organisations to 
examine the situation with the hope of finding lasting solution to the 
problem. This paper defines the role and contributions of Theatre, with 
special interest on drama in this regards. Drama is formidable in the 
formulation of a good national identity and in spurring social mobilisation 
and development. According to Ojemudia: 

Drama helps man to form a view of the world; a true and large-scale 
assessment of events; get a rational, reasoned orientation of the world 
around him; and make a true assessment of his own self. It 
aesthetically expresses man's emotional-intellectual world in his 
relationship to the environment. National or personal identity is a 
direct result of the presence of elements from the shared activities 
such as drama performances, cultural practices and other common 
factors in people's daily lives including language, history, culture and 
consciousness. In Nigeria, drama has played significant roles in 
forming and consolidating ethnic and national identities. Drama 
therefore is an effective instrument for Identity formation. (33) 

This is a clear attestation of the providence of drama in national 
development. As a resume of a people’s culture, drama touches every
aspects of human endeavour. It helps man to understand himself, 
formulate a self-concept, understand and be able to engage his immediate 
environment. It also mobilises, orients and re-orients citizens, build their 
emotional and psychological power and above all teaches them how to 
solve their problem by themselves. It is on this pretext that this article 
examines the role of drama in the formulation of national identity and how 
it transforms into national development. 

Conceptualizing Drama, National Identity and Sustainable 
Development 

It is fundamental to note that identity is a construct. The way people 
conceive an individual or group of people who come to form a nation 
depends on the kind of image which they create for themselves. This is 



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reflected in their way of life; their values and norms, aesthetics, leadership, 
culture, law, ideology and philosophy as well as their mode of interaction 
with others. Concomitantly, Sieyes in Schieder conceptualizes a nation as 
"the totality of individuals united by living under a common law and 
represented by the same legislative assembly" (122). This unification 
leads to the establishment of a society or communities which Anderson in 
Dhoest refers to this as “imagined communities”. Cultural diversity, multi-
ethnicity and individual differences form the bases of Anderson’s
description of a nation. It explains a situation where commonality is placed 
above individual and cultural differences; where people agree to live 
together in spite of these differences in order to pursue set goals. Dhoest 
further posits that nations are not only ‘imagined’, but also ‘imaged’
(http://www.portal comunicacion.com). Dhoest’s position is congruent to
our earlier statement on how a nation is responsible for the kind of identity 
they project. Suavi bifurcates identity into two thus:  

The first one is recognition and identification while the second one is 
the sense of belonging. Recognition and identification are related to 
how an individual is recognized by the society and how he defines 
himself. The tool for this is language and culture. Belonging comes 
out when an individual feels included to any social group. (In Gelişli 
http://citeseerx.ist.psu.edu)  

One’s recognition within his or her immediate society coupled with his or
self-concept defines the love or sense of belonging expressed towards his or 
her society. It also defines social roles and commitment to national agenda 
and subsequently national development. Erkan’s conceptualises identity as:  

A dynamic formation shaped by expectations ascribed to social roles 
in the process of socialization. The sense of belonging is effective on 
this formation to a large extent. However, when the identity is only 
shaped by the sense of belonging, it brings about individuals without 
identities. Identity and belonging are two closely related concepts full 
of contradictions. While revealing his identity, one does not 
compromise on creativity and originality, one who voice his extreme 
loyalty to the community that he belongs to may shift away from his 
identity and personality in addition to losing his creativity and 
originality since people who have extreme loyalty to a certain group 
adopt the conscious of feeling in the same way and assimilation. The 
necessities of individual characteristics are of secondary importance 
for those people. In fact, the need for the sense of belonging and 
individual necessities should be fulfilled equitably. 
(http://kozadergisi.com) 



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From another perspective, Yanik writes that: 
The construction of identities uses materials from the history, 
geography, biology, productive and production-directed institutions, 
collective memory, personal fantasies, power devices, and religious 
revelation. However, individuals, social groups and communities 
process all these materials and rearrange the meaning of all these 
material based on the social structure in which they live, social 
conditions resulting from space / time frame and cultural projects. 
(228-229) 

Herper in this regard states that, Identity is, formed by a variety of 
environments, and some social institutions, particularly by society and 
adaptation to them influences identity. For example, it is specified that by 
adapting to communication tools and the effects of media, we create social 
worlds and identity is formed in this context. Types of music people listen 
to, the fashion magazines they choose reflect the personality traits of those 
people. Herper indicates that communication, fashion magazines, other 
means of communication, media sources and the internet that we always 
encounter in the social world shape our identity in this manner. Social 
identities are constructed in this process (http://www. sagepub.com). The 
acclimatisation of both the old and younger generation towards social 
media where they assimilate and formulate new identities in dissonance to 
the Nigerian identity has affected the pace of development today. This is 
because they imbibe ways of life that are diametrically opposed to ours. 
In such instances there are rise in panics due to misinformation, conflicts, 
violence, criminality, rape and so on in the nation. These are elements and 
or components of underdevelopment.   

According to Bellù, development:  
Is a multi-dimensional concept in its nature, because any 
improvement of complex systems, as indeed actual socio-economic 
systems are, can occur in different parts or ways, at different speeds 
and driven by different forces. Additionally, the development of one 
part of the system may be detrimental to the development of other 
parts, giving rise to conflicting objectives (trade-offs) and conflicts. 
Consequently, measuring development, i.e. determining whether and 
to what extent a system is developing, is an intrinsically 
multidimensional exercise. (2) 

Development applies to every aspect of human life. It applies to the 
physical, emotional, psychological, economic, socio-political, and cultural 
dimensions of human life and living. While it is difficult to achieve 



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equilibrium in the development of any nation of the world, societies with 
this understanding have thrived to balance the situation in order to avoid 
the rise of internal dissatisfactions among nationals leading to social 
instability and subsequent underdevelopment. That notwithstanding, 
Bellù further clarifies that:  

Event constituting a new stage in a changing situation” or the process
of change per se. Development is implicitly intended as something 
positive or desirable. When referring to a society or to a socio-
economic system, “development” usually means improvement, 
either in the general situation of the system, or in some of its 
constituent elements. Development may occur due to some deliberate 
action carried out by single agents or by some authority pre-ordered 
to achieve improvement, to favourable circumstances in both. 
Development policies and private investment, in all their forms, are 
examples of such actions. (2) 

Within the context of this paper, development is understood as a positive 
change in the socio-political, economic, cultural and religious aspects of 
the nation; a paradigmatic shift and or improvement in the life of the 
nation.     

Synopsis of Death and the Kingshorseman  

Soyinka’s Death and the Kings Horseman captures the tale of Elesin, the 
Horseman whose duty is to escort the Oba to the afterlife. Following the 
death of the King, the Yoruba culture demands that his Horseman 
performs the ritual of self sacrifice to continue his job of serving the Oba 
in the afterlife and most importantly bridge the gap created by the death 
of the king between the living, dead and the unborn. This duty, the Elesin 
carries out, but, he is trapped by the beauty of the world. Lost in the beauty 
of a young lady, Elesin desires to have the young lady before he transcends 
to the underworld. The Elesin receives series of warnings and plea from 
the Iyaloja, praise singers and other community members, but he never 
yielded. His insistent to have the young lady and other worldly pleasures 
delayed his transition to the underworld to the point where the British 
interrupted the ritual ceremony and he is stopped from committing the 
ritual suicide. His son who is fully aware of the tradition of his people, 
returned from abroad to bury his father only to discover that he is still 
alive. He takes the place of his father in the ritual; this act forces Elesin to 
kill himself. Belatedly, though, his son takes his place in the afterlife thus 
making his death worthless and meaningless to the entire process.  



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National Identity and Sustainable Development in Death and the 
Kings Horseman  

The death of the Oba instantly stagnate the society. Thus, his death leaves 
Elesin, his horseman between the threshold of life and death. The same 
goes for the Oba who without his Horseman may not be able to journey to 
the underworld. With this, the community becomes stagnated and this 
point in dare need of a mediator in the death of the Elesin for it to move 
on. Metaphorically, for the society to move on connotes development, 
transformation, and continuous growth. Societal growth is deterred 
because the socio-economic and political activities that sustain it are put 
on hold still the ritual sacrifice is carried out. Therefore, the death of Elesin 
Oba is highly significant and symbolic within the Yoruba cosmology. 
Elesin’s death determines whether his immediate society will move on or 
remain static. This is because the burden of the society lies on his 
shoulders. This self-sacrifice therefore, is an act of resilience and 
patriotism to the society that birth Elesin. Ibitokun in Dameh maintains 
that: 

In Yoruba culture, death is not something that is feared, it moves the 
earthly confines of the body and soul to a better place. Death 
functions as a means to achieve honour in the society... but for the 
Yoruba, death is not annihilation of being. It is the simple rite of 
passage, from human to divine essence...other rites of passage 
include, birth, naming ceremonies, circumcision rites, conferment of 
chieftaincy titles, kings’ installation, etc.(3).  

The character of Elesin can be likened to that of armed enforcement agent 
who upon appointment signs his or her death warrant in defence of the 
territorial integrity of the nation and to ensure peace and social stability. 
His or her job is to make sure there is progress and total societal 
transformation. Without this set of people society becomes lawless and 
development is deterred. The seat of the Horseman is therefore, very vital 
to the progress or otherwise of the Yoruba society, and most insightfully, 
a position and civic duty that the horseman cannot escape. Elesin 
corroborates this point when he says that:  

Elesin: I was born to keep it so. A hive is never known to wonder. 
An anthill does not desert its roots. We cannot see the still 
great womb of the world-no man beholds his mother’s
womb-yet who denies it’s there? Coiled to the navel of the
world is that endless cord that links us all to the great origin. 



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If I lose my way the trailing cord will bring me to the roots. 
(Death and the Kings... 18-19) 

The horseman on assumption of office instantly becomes a martyr because 
he gives his life for society to experience change when the need arises. He 
knows from the beginning that he is living for the day when he will give 
his life for society to move on. Dameh further maintains that “for the
Yoruba’s, death is more than the termination of human breath, but the
termination of the continuum that exists between the world of the living, 
the world of the dead and that of the unborn. This cyclical world view is 
interdependent and allows for the continuation of the human race. Any 
break, any chasm created will lead to the annihilation of the entire race 
(3). Elesin’s death will therefore, fill the vacuum created by the death of
the king. However, trapped in the euphoria of earthly pleasures, Elesin 
demanded that he bed a new bride before his passage right is completed. 
Elesin’s request is outrageous, given the importance and immediacy of the
ritual to the continuity of his society. However, the fear that he may derail 
from the course if his demands were ignored forced community people to 
grant his wishes. Also, in order to commit him to the course, they do 
everything humanly possible to make him commit the ritual suicide. This 
explains while Iyaloja had to break tradition and give Elesin a betrothed 
young girl 

Elesin: And that radiance which so suddenly lit up this market I could 
boast, I know so well? 

Iyaloja: Has one step already in her husband’s home. She is
betrothed. 

Elesin: (Imitated): Why do you tell me that? (Iyaloja falls silent. The 
women shuffle uneasily) 

Iyaloja: Not because we dare give you offence. Elesin, today is your 
day and the white world is yours. Still even those who leave 
town to make a new dwelling elsewhere like to be 
remembered by what they leave behind. 

Elesin: Who does not seek to be remembered? Memory is master of 
death, the chink in his armour of conceit. I shall leave that 
which makes my going the sheerest dream of an afternoon. 
Should voyagers not travel light? Excessive load, all that 
may benefit the living. 



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Woman (Relieved): Ah, Elesin Oja, we know you for a man of 
honour. 

Elesin: Then honour me. I deserve a bed of honour to lie upon. 

Iyaloja: the best is yours... (20) 

The cynical and cocky attitude of Elesin runs him into trouble because 
such inappropriate actions delayed his ritual obligation. Elesin took 
advantage of the situation to demand for the things he yearned for but did 
not have the opportunity to get. His hunger for flesh demonstrates his short 
sightedness and uncontrolled appetite over the course which society 
depends on. Iyaloja sensed neglect in his action and even though she puts 
her concerns to him politely, he did not listen.  

Iyaloja: (Smiling broadly, completely reconciled): Elesin, even at the 
narrow end of the passage I know you will look back and 
sigh a last regret for the flesh that fleshed pest your spirit in 
flight... You wish to travel light. Well, the earth is yours. But 
be sure the seed you leave in it attracts no curse. (23-22) 

It is difficult to correlate and or decipher the connection between 
committing ritual suicide and developing an instantaneous feeling to bed 
a young lady who just passes bye. Elesin’s uncontrolled conjugal appetite
demonstrates his less concern and or commitment to the progress of his 
community and a great pointer to why he jettisoned the process at the end. 
He does not care if the girl is betrothed or not, as the high power of the 
society, following the death of the ruling Oba and his critical position as 
the horseman whose ritual death will bring about continuity and social 
stability, he leveraged on this to exploit the people and more provokingly 
to commit an act of abomination. Despite the warning that the girl is 
betrothed, he resented the caution and asked that she be brought to him. 
The major implication of this delay is the reproach he gets from the British 
officers domicile in the region. 

Pilkings: Amusa’s report. Listen. ‘I have to report that it come to my
information that one prominent chief, namely, the Elesin 
Oba, is to commit death tonight as a result of native custom. 
Because this is criminal offence I await further instruction at 
charge offence. Sergeant Amusa... (Jane comes out onto the 
veranda while he is reading) 

Jane: Dad I hear you say commit death? 

Pilkings: Obviously he means murder 



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Jane: You mean a ritual murder 

Pilkings: Must be. You think you’ve stamped it all out but it’s always
lurking under the surface somewhere.    

Jane: Oh. Does it mean we are not getting to the ball at all? 

Pilking: No. I’ll have the man arrested. Everyone remotely involved.
In any case there may be working to it. Just rumours. (26) 

Ironically, local people who have the knowledge of the custom and 
traditions are used as instrument to stop Elesin from carrying out this ritual 
rite. Such locals are converted from the known traditional religion to 
Christianity. A worrisome attitude of these converts is how they suddenly 
turn a blind eye on their ancestral religion and contribute in no small 
measure to prevent Elesin from carrying out his civic duty. Amusa in this 
light maintains thus: 

Amusa: Madam Iyaloga, I am glad you came. You know me. I no 
like trouble but duty is duty. I am here to arrest Elesin for 
criminal intent. Tell these women to stop obstructing me in 
the performance of my duty. 

Iyaloja: And you? What gives you the right to obstruct our leader of 
men in the performance of his duty? (36) 

It is unacceptable to the people for an unbeliever, an outsider to take over 
their land and determine what happens in their society. The impunity of 
the Whiteman on the cultural practice of the people, more that it is 
perpetrated by indigenes is tantamount to the destruction of the society 
itself. The magnitude of destruction that is likely going to take place in the 
society informs Iyaloja’s outburst. 

Woman: You ignorant man. It is not he who calls himself Elesin Oba, 
it is his blood that says it. As it called out to his father before 
him and will to his son after him: and that is in spite of 
everything your white man can do. (35) 

The thinking is that, indigenes who work with the British government 
should be the ones educating them on the essence of the ritual death to the 
existence of the society and not the arms men used in deterring the Elesin 
from exercising his civic duty.  In no instance did the society prevent 
patriotic individuals from exercising their civic rights except such act or 
action contravenes societal rules and regulations. Olunde saw as thus, 
every member of the society that his father’s action is heroic and a course
that will move the society forward. While the Whiteman’s moves to



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prevent Elesin from performing the ritual death lingers, Olunde only 
returns from the Whiteman’s land to bury his father. He expresses his
anger when he heard of the attempt to stop his father from performance 
the ritual suicide thus: 

Olunde: (Mildly): And that is the good cause for which you desecrate 
and ancestral mask? 

Jane: Oh, so you are shocked after all. How disappointing. 

Olunde: Oh I am not shocked Mrs. Pilckings. You forget that I have 
now spent four years among your people. I discovered that 
you have no respect for what you do not understand. 

Jane: Oh, so you’ve returned with a chip on your shoulder. That’s a
pity Olunde. I am sorry. (An uncomfortable silence follows) 
I take it then that you did not find your stay in England 
altogether edifying. 

It is the expectation of Mrs. Jane that Olunde’s stay in England would
change his thinking and belief in his culture. However, he still holds his 
cultural practices dearly and ready to take over the seat as the next 
horseman to the next king. However, Olunde who is kept in the dark on 
the state of his father is questioned on how he got wind of the situation 
and has returned to the land in such hast. In his response he maintains thus: 

Olunde: A relation sent it weeks ago, and it said nothing about my 
father. All it said was, our king is dead. But I knew I had to 
return home at once so as to bury my father i understand that. 
(52) 

Jane: But you don’t think your father is also entitled to whatever
protection is available to him? 

Olunde: How can I make you understand? He has protection. No one 
can undertake what he does to night without the deepest 
protection the mind can conceive. What can you offer him 
in place of the honour and veneration of his own people? 
What would you think of your prince if he had refused to 
accept the risk of losing his life on his voyage? This... 
showing the flag tour of colonial precessions (53) 

Olunde’s disposition is that, the Whiteman has no right to stop his father 
from carrying out his obligation. This act of self suicide gives Elesin 
eternal veneration. Without his completion of the ritual, the connection 



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between the living, dead and the unborn is perpetually broken. Olunde 
further notes that: 

Olunde: Don’t think it was just the war. Before that even started i had
plenty of time to study your people. I saw nothing, finally, 
that gave you the right to press judgement on the peoples and 
their ways. Nothing at all. (54) 

Again his contention is that, every human culture has their peculiar 
practices. In such circumstances, no culture is above the other, no culture 
has the right to regard other cultures as savage or barbaric. The 
Whiteman’s culture is also fraught with issues and ill practices as well. 
His point is that the ritual is indispensible and must therefore be carried 
out to the later. This explains why the death of his father is not considered 
tragic, but a heroic death that enables society to move on. 

Olunde: Yes Mrs pilkins, my father is dead. His will-power has 
always been enormous. I know he is dead. 

Jane: (screams): How can you be so callous! So unfeeling! You 
announce your father’s own death like a stranger’s body!
You’re past a savage like all the rest. (55) 

Olunde: I have a funeral to arrange. Excuse me (Going) 

One thing Jane failed to understand is that once you are Elesin Oba, your 
faith is already decided and known by the people. That is why the people 
celebrates the Horseman as he journey to the afterlife rather than grieving. 
Olunde further expatiates this:    

Olunde: All these things are part of it. And any body, my father has 
been dead in my mind for nearly a month. Ever since I 
learnt of the kings death. I’ve lived with my bereavement
so long now that i cannot think of him alive. On that journey 
on the one who must perform the rites over his body. I went 
through it all again and again in my mind as he himself had 
taught me. I didn’t want to do anything wrong, something
which might jeopardise the welfare of my people (57). 

Olunde knew the calamity that will befall his community following his 
father’s dalliance in committing himself to the afterlife. As a son who
understands his culture and societal need, he gave his own life in place of 
his father for his society to grow.  

Nigeria undoubtedly needs leaders with the character disposition of 
Olunde; leaders who are willing to place national interest above personal 



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interest; patriots who are capable setting formidable goals and are able to 
commit and or key their followers into actualising such goals. 
Unfortunately, such kind of leaders are merely found today, even the few 
who are willing to work are deterred by the existing political ideology of 
“it is our turn to chop”. In this instance, cultural and religious affiliations
as well and “who knows who” become the criterion for election leaders 
and offering of political appointments. This explains why it has become 
very difficult for Nigeria to develop. In Soyinka’s Death and the Kings
Horseman, every community member commits themselves to the course 
of social transformation; they ensured that Elesin pulled through with the 
ritual sacrifice. This is a virtue the contemporary voters must imbibe; 
leaders must be made to deliver on their campaign promises for it is the 
only way that development can be guaranteed. 

Conclusion and Recommendations 

Soyinka’sDeath and the Kings Horseman has not only critically examined 
the question of national identity and development in Nigeria but has more 
fundamentally offered tangle solutions on the problemtics. On this 
premise this paper encourages playwrights and directors as well as other 
theatre stakeholders to intensify research into various cultural dimensions 
of the country and portray a good image of the nation. When this is done, 
Nigeria’s image would be appreciable and her diplomatic and or 
international relations would be strengthened and in turn would bring 
about development in the country.  

Nigerians must be encouraged to emulate the life of Olunde who 
demonstrates total allegiance and patriotism to his society. Olunde 
knowing full well that it is not yet time for him to commit death for his 
society to move on did so in place of his father who failed his society. 
Elesin’s character typifies a greedy and selfish human being who is only
interested in himself than the good of the larger society. His unpatriotic 
attitude held the entire society to a standstill. Such individuals are capable 
of destroying the society and must therefore, be expunged for society to 
be controlled by reasonable people who will drive the society to greater 
heights. Olunde is one of such persons whose love for his society 
outweighs his personal interest. He scarified himself for the cyclical nature 
of the living, dead and the unborn to be sustained. This is a rare sacrifice 
given the nature and calibre of people we have in our society today. That 
notwithstanding, the presence of the likes of Olunde in the Nigerian 
society will go a long way in enhancing the development of the country.  



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Finally, our cultural heritage must be revived. It is the responsibility of all 
cultural stakeholders in the nation to revitalise, promote and strengthen 
our cultural heritage for posterity. We must together hold and develop our 
culture and pass it on from one generation to the other. The understanding 
of our cultural heritage and how to apply it norms and values in our daily 
life and living is a bold step towards development.      

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Bellù G. Lorenzo Development and Development Paradigms: A (Reasoned) 
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Erkan, B. http://kozadergisi.com/kimlik-kavrami-uzerinden-toplumsal-bir-
dayatma-aidiyet. Erişim: 13.02.2014. http://www.portal 
comunicacion.com. Accessed 14th April, 2018. 

Ojemudia, C. Chika. “Drama as an Instrument for National Identity
Formation”. UJAH: UNIZIK Journal of Arts and Humanities. 
http://dx.doi.org/10.4314/ujah.v14i3.3. Accessed 14th April, 2019. 

Schieder, Theodor, "Typoloogie und Erscheinungs-formdes Nauon Alistaats 
in Europa," Nationalismus.  Ed. Heinrich August Winkler. 
Athenaeum: Konigsteinrrs, 1985. 

Soyinka, Wole. Death and the Kings Horseman. Norton, 2002. 
Yücel Gelişli. “The Development Study of National Identity Perception 

Scale”. International journal on New Trends in Education and their 
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seerx.ist.psu.edu/viewdoc/download?doi=10.1.1.301.740&rep=rep1
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