AMA: Journal of Theatre and Cultural Studies 

40 

 

GREENING THE ARTS: ARNOLD UDOKA’S INYENE 

AND  THE CONNECTIONS BETWEEN DRAMA AND 

HUMAN ECOLOGY 

 

Uzoji, Emmanuel Ebere  
Department of Performing Arts and Film Studies 

Lead City University, Ibadan, Oyo State. 

emmnaauelebere@yahoo.com 

 

Abstract 

The Earth is in peril. Climate change, plagues, conflicts, 

environmental degradation and drought now stares the human race 

in the face. Over the years, changes in climatic conditions have 

intensified a near-desperate quest to salvage the remnant of 

humanity from the now-existent eco-crisis. This paper investigates 

the relevance of literary drama to the eco-challenges of sub-

Saharan Africa. The objective of this study is to x-ray the thematic 

importance of Arnold Udoka’s Inyene in the discourse of ecology 

and the environmental crisis now confronting Nigeria. The paper 

finds this dramatic text as one of such literary discourses that 

interface with a scientific phenomenon such as ecology. It thus 

recommends that the subject of ecology and the crisis of the 

environment needs to be re-evaluated to embrace the contributions 

of the arts, especially drama. 

 

Keywords: Ecopedagogy, Ecocriticism, Drama, Conflict and 

Ecology 

 

  

Climate change, global warming, ozone depletion – all 

these have become popular clichés that have characterized various 

global summits aimed at confronting the environmental challenges 

of the 21st century. Nations of the earth have risen in one testament 

– The Earth’s Charter to forge a common cause aimed at addressing 

mailto:emmnaauelebere@yahoo.com


Uzoji: Greening the arts: Arnold udoka’s Inyene and the connections between… 

41 

 

a reality that stares all in the face – a human race under peril due to 

the absolute disregard for nature. The first paragraph of that 

document reads: 

 

We stand at a critical moment in Earth’s history, a time when 

humanity must choose its future. As the world becomes 

increasingly interdependent and fragile, the future at once 

holds great peril and great promise. To move forward we 

must recognize that amid a magnificent diversity of cultures 

and life forms, we are one human family and one Earth 

community with a common destiny. We must stand together 

to bring forth a sustainable global society founded on respect 

for nature, universal human rights, economic justice and a 

culture of peace. Towards this end, it is imperative that we, 

the peoples of Earth, declare our responsibility to one 

another, to the greater community of life, and future 

generations (echarter.org). 

 

  Natural and man-made disasters of catastrophic magnitude 

now ravage the entire globe. From flash floods, tsunamis, 

earthquakes, forest fires, drought, hurricanes, erosions, desert 

encroachments, air and water pollution, and oil spills, every part of 

the earth shares one sad story or the other. In Africa, humans have 

to grapple with the twin devils of both natural and man-made 

disasters as well as conflicts and their attendant natural 

consequences of hunger, destitution, disease and poverty. 

 Amidst these realities is the question of the role of drama in 

addressing the ecological concerns of the earth. As stated by 

Chauduri, ecological victory will require a transvaluation so 

profound as to be nearly unimaginable at present and the arts and 

humanities, including drama, must play a role (25). McKibben 

equally adds his voice to this believing that playwrights, poets and 

artists need to create works which will place climate change deeply 



AMA: Journal of Theatre and Cultural Studies 

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in the imagination (ashdendirectory.org.uk). Drama holds the 

power to help us see “something about ourselves” by touching 

some parts of our identity construct. Theatre is life – a reflection of 

who we are and what we do. Humans cannot be disconnected from 

the environment and hence, theatre needs and ought to reveal the 

common reality of the earth – the home of all human beings. This 

is more apt as “our human identity and the identification of what 

we refer to as nature, are now forever intertwined and dependent 

upon one another” (McKibben, 11).  

The Green Theatre Theory 

To understand the relationship between theatre and nature 

one must first refigure the relationships between ‘culture’ and 

‘nature’ that all humans inevitably inherit. Modernist traditions of 

European ‘enlightenment’ pitched nature and culture, ‘man’ and 

the environment against each other in what Kershaw says has 

turned out to be a potentially disastrous opposition (12). Nature is 

human and humanity forms the whole ensemble that nature 

represents. Since theatre is life, then it only amounts to the fact that 

all human life is theatricalised and dramatised, including, crucially, 

its interactions with other species and the environment. The 

performance paradigm was thus a major generative force of an age 

of ecology that emerged in the final five decades of the second 

millennium (Kershaw, 14). 

 The concept of the “Green theatre” is such that is shrouded 

in a lot of complexities because the word “Green” is not easily 

collocated. The green terminology spans several disciplines from 

medicine to politics. We have heard of the word – The British 

Green Party, Green Capitalism, Green Consumerism, Green 

Theory, Green Socialists, Green Ecology, Greenpeace, Green 

shirts, The German Green Party, The American Green Party, The 

Green Economy, etc. 

 However, the concept of ‘Green’ today has developed into 

a universally understood notion that non-human nature is given 



Uzoji: Greening the arts: Arnold udoka’s Inyene and the connections between… 

43 

 

status, and that to protect it, the concept/ideology has come to 

include socio-political ideology. The traditional Green theory 

includes a critique of growth, environmental concern, scientific 

ecology, philosophical holism and the granting of status to non-

human nature (Wall 29). Wall in his study reveals that in seeking 

to solve environmental problems, “Greens” have been forced to 

consider human affairs and embrace a set of political, economic, 

and cultural principles. “Any description of Green demands an 

exploration of approaches to human society. Solving perceived 

ecological problems undoubtedly demands a transformation of 

attitudes and institutions” (Wall 29). The world’s economy as its 

stands today is largely driven by forces that put both man and 

nature in peril. Gaseous emissions from industries and exploitation 

of forest reserves can only be checked by an absolute change of not 

only attitudes but also of institutions that perpetuate this trend. 

Green theorist Schnaiberg supports this crucial element by 

reminding us that “all environmental problems are social problems 

regarding both their causes and effects” (17). 

 Based on the foregoing, we can safely state that the 

contemporary Green movement is not only an environmental 

movement but also a socio-political movement. Heinlein’s study of 

proto-environmental performances in contemporary Western 

Theatre traced the history of this movement to the summer of 1962 

when marine biologist Rachel Carson, previously a noted author of 

marine life books, stated the following: 

 

As man proceeds toward his announced goal of the 

conquest of nature, he has written a depressing record of 

destruction, directed not only against the earth he inhabits 

but the life that shares it with him. The history of the recent 

centuries has its black environment passages. Now to these 

and others like them, we are adding a new chapter and a 

new kind of havoc, the question is whether any civilization 

can wage such relentless war on life without destroying 



AMA: Journal of Theatre and Cultural Studies 

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itself, and without losing the right to be called civilized 

(Sale, 3).    

 

 Today, more than fifty years after, the world is stunned by 

the truth of Carson’s prediction. Humans now turned predators are 

preying on their kind as conflicts ravage the entire globe. The quest 

for life’s natural resources has been a major catalyst for war and 

other genocidal killings especially in Africa not to mention the 

complete disregard for the environment in the wake of the 

continued plunder of natural resources.  

No doubt the state of affairs calls for a social revolution and 

drama is one tool for such a revolution. The socio-theatrical work 

of Augusto Boal – Theatre of the Oppressed puts him as the 

philosophical forerunner to contemporary Green theatre. Boal 

validates performance as a weapon for social revolution, a means 

by which identity can be initiated (14). Contemporary Green 

practitioners have always sought revolutionary change not only in 

behaviour but also in the structures that give ambivalence to nature 

and the whole concept of safe earth. Green theatre, therefore, 

presupposes a performance that is socially relevant and maintains 

its efficiency as a tool for creating widespread socio-ecological 

change (Heinlein 25). 

For Gare, the world lacks stories or narratives of sufficient 

power and complexity to orient people for effective action to 

overcome environmental problems and to relate the multiplicity of 

social and cultural forms implicated in or affected by 

environmental destruction. Though, environmental problems are 

global yet there is a need to formulate stories, craft performances 

and write plays about the lives of people and the history of societies 

in terms that Gare says will enable them to be understood in the 

context of and as part of nature (45). The environmental challenge 

in many parts of the Third World especially Africa is not the same 

in developed nations. Gare’s argument that global capitalism 

dominated by transnational corporations and financial institutions, 



Uzoji: Greening the arts: Arnold udoka’s Inyene and the connections between… 

45 

 

and controlled by a new international bourgeoisie has exposed 

some of the most basic cultural structures on which Western 

European civilization in general and modernity in particular have 

been based is quite timely (114). If this is the case, then there is a 

need for a new kind of civilization – a Green civilization that is not 

only trans-historically and culturally relevant but also challenges 

this global hegemonic culture of transnationalization. This 

challenge can only be met when people are oriented in practice and 

in their daily lives to pursue the pathway of creating an 

environmentally sustainable civilization and drama as stated earlier 

is one such weapon that has the potential to meet this challenge. 

Already, there are contradictions in the global quest to solve 

the world’s eco-crisis. The concept of sustainable development 

seems to globalize environmental problems and consequently 

implies that only global solutions should be sought for ‘local’ eco-

problems. This partly explains the seeming eco-hesitation by 

African critics of the global eco-crisis as conceptualized by the 

West. Africa today stands on the wrong side of the divide in the 

futile attempt to globalize the eco-crisis. While the continent 

continues to writhe in pain of the worst kind owing to a 

degenerating environment orchestrated by decades of exploitation 

of natural resources to fuel developed economies, increasing 

poverty has no doubt exacerbated bloody conflicts, genocide and 

terrorism. This trend no doubt puts respect for life and nature in 

utter disregard. Maathai Wangari, a renowned African 

environmental activist was awarded the Nobel Prize for Peace in 

recognition of her efforts to halt deforestation in Kenya. For her, 

“peace on earth depends on our ability to secure our living 

environment” 

(http://www.womeninworldhistory.com/contemporary-01.html). 

She was arrested and jailed severally by Kenyan authorities for her 

doggedness in challenging the very institutions that encouraged the 

continued plundering of Kenya’s forest reserves. It is quite ironic 

that in Africa, those who challenged the forces that perpetuate eco-



AMA: Journal of Theatre and Cultural Studies 

46 

 

degradation have been met with stiff opposition. Nigeria also 

shares a similar story in Ken Saro Wiwa who was summarily 

executed alongside eight others by the then military authorities for 

daring to challenge the continued devastation of the Niger Delta 

ecosystem by oil merchants. Since then, this region which holds 

the key to Nigeria’s survival has not known peace. 

African efforts at sustainable development have been 

targeted at fighting poverty by enriching scarce resources. For 

Africa, the only way to guarantee peace which is one of the goals 

of sustainable development is by meeting the needs of the current 

generations without jeopardizing the needs of future generations. 

This was the motivation for Wangari when she founded the Green 

Belt Movement which succeeded in planting 30 million trees to halt 

deforestation in Kenya. For her, “People are fighting over water, 

over food and other natural resources. When our resources become 

scarce, we fight over them. In managing our resources and in 

sustainable development, we plant the seeds of peace” 

(http://www.womeninworldhistory.com/contemporary-01.html). 

Glover’s analysis of Escobar’s work captures the current 

contraptions of sustainable development which he says are: 1) a 

‘saving the world mentality’, which promotes the global at the 

expense of the local; 2) a belief that the world’s poor create 

environmental problems, but which ignores how capitalism creates 

poverty in the first place; 3) a faith that capitalism’s market 

structures can resolve ecological problems (54). To overturn these 

structures and engender a pathway for development that is Africa-

friendly, drama is and should be seen to be at the forefront to secure 

an environment of peace that guarantees the well-being of all 

peoples of the earth.      

 

A Brief Synopsis of Arnold Udoka’s Iyene 

 Inyene – an Annang word for wealth is used as a metaphor 

for the abject poverty amid plenty (rich country, poor people) that 

has become the lot of the Niger Delta. The play which is a dance 



Uzoji: Greening the arts: Arnold udoka’s Inyene and the connections between… 

47 

 

drama explores the lack of sensitivity to the environment which lays 

the golden egg, the neglect of corporate social responsibility and 

the breeding of a culture of vulturism. There is also a depiction of 

the futility of violence and other strategies which undermine the 

search for peace in the region. 

 The play calls for restraint and understanding on the part of 

the multinational corporations, and the compassionate intervention 

of the educated elite amongst Niger Deltans to resolve the knotty 

issues. Inyene is also a token of hope, a prophecy that the people’s 

wealth would be truly theirs someday soon. 

 The play centres on Inyene, who was born in a riverine 

environment but left for the city to become a successful 

businessman who later returns to assist his people. He comes home 

to Bawkeng only to find that many of his kinsmen and women have 

either died due to confrontations with oil merchants or diseases 

arising from the effects of environmental pollution. Preba, one of 

the women who challenges the guards of the oil expatriates is shot 

in one of the many protests by the people. 

 However, Inyene has a different idea. He initiates a 

dialogue with the oil merchant, Adam Smith and this move pays 

off as the people can reach a mutual agreement on how to end the 

conflicts and halt further pollution of the environment. 

 The play ends with Adam’s workers emerging with all sorts 

of cleaning equipment to sanitize the environment. Using the leafy 

branches in their possession, the women and the men join in 

cleaning up the environment. Adam walks up to the gas flaring pit 

and turns it off. With the aid of the workers, he connects the gas 

flaring pit to several cylinders. 

 

Eco-issues in the Play 

 From the play, four typical issues are identified as common 

sights of eco-degradation in the Niger Delta. They are gas flaring, 

soiled fishing nets, oil spillage and conflicts between natives and 

oil industries. The flaring of gas in the Niger Delta has continued 



AMA: Journal of Theatre and Cultural Studies 

48 

 

unabatedly for several decades. Apart from the huge economic loss 

to the Nigerian state, it has impacted heavily on the quality of air in 

that region. The people’s livelihood is tied to the environment and 

when the waters are soiled with oil, their means of survival and 

collective well-being are cut off. Oil spillages are now a common 

occurrence in the Niger Delta and on each occasion, the devastation 
brought to both land and water-dependent animals is quite 

considerable. One of the characters in the play – the priest 

encapsulates the importance of the environment to the people thus: 

 

For all these, our gods and ancestors, we are grateful. Let 

the rain come in its season. And let the sunshine in its 

season. And our waters; may they continue to bear all 

manner of water animals. And may the fishes they bear not 

tear our nets. May these waters continue to run free to our 

shores and keep our swamps green in peace all year round 

(2). 

 

The ideal is what the priest prayed for. The Niger Delta is 

rich in seafood and other water resources. The ideal Niger Delta 

environment is ever-green and the tranquil nature of the fields 

makes it a peaceful habitat both for humans and animals. The 

ambience of its forests, waters, creeks and canals resonates with 

the sound of eco-wealth but all of these are now threatened due to 

the exploitation and other oil-related activities since pre-colonial 

times. The priest in the play captures the impact of ecological 

disasters now plaguing the Niger Delta thus: 

 

We were very happy people until one day, a strange and 

violent tide swept from the depth of the ocean to our shores. 

None of us knew what type of dam to build to stem that 

tide. Its winds were so destructive that even the ramparts of 

our shores were blown away. Where then do I as a priest 

appease our gods? In the water or the land? It is now a curse 



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49 

 

to claim Bawkeng as a homeland. The pain in our souls 

degenerated into fear, indignation, poverty and death. Who 

invoked this despoliation on our land? Who? In Bawkeng that 

strange and violent wind changed us to the proverbial rich 

land with poor people…(23). 

In the play, we also see the height of impunity and 

indifference to the plight of the local natives. Oil spills have just 

been discovered to have littered the entire community and all the 

oil merchants care about is the profit. The conversation between the 

foreman, the workers and the engineer reveals the intent of such 

exploitations and displays the global hegemonic economy which 

prefers profit above any other humane consideration. 

 

Foreman: Master, master 

  There is a mistake 

  The oil is flowing 

  But on the ground. 

  On the water 

  And the farmland 

Workers: There’s an error 

  Error error error 

  There’s an error 

Engineer: Oh no! Oh no! 

  But it’s no one’s fault 

Oil spillage 

Is it no big deal 

There are other waters 

For the natives to fish 

There are other lands 

For the natives to till 

The oil flows well 

That’s all I need 

To make my money back… (26) 



AMA: Journal of Theatre and Cultural Studies 

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In movement three, there is a depiction of the consequence of 

resistance. The people’s revolt has often been met with fatal 

responses by government agencies and private personnel hired by 

the oil merchants. Preba, a woman who mobilized others to protest 

against the ecological disasters caused by the oil industry was 

brutally shot and killed by the security guards at the gate. This was 

captured in the priest’s lamentations shortly after saying: 

 

For a challenging environmental crisis, Preba was killed. 

Demanding practices to maintain health and survival of life, 

Preba paid with her life. To seek the reordering of the 

relationship between nature and community, Preba lost her 

life. Her ecological consciousness to regenerate the land of 

Bawkeng and reduce the death toll occasioned by the oil 

spillage and gas flaring condemned her for elimination 

(35). 

 

The scenario above proves that the fight against eco-

degradation especially when this affects the free flow of proceeds 

from exploration and exploitation has come with its consequences. 

Many lives have been lost and are still being lost due to the crisis 

in the Niger Delta. However, there is a glimmer of hope as can be 

seen from the play. The return of Inyene in movement five appears 

to lift the spirits of the downcast people of Bawkeng. As he enters 

to hear the tales of woe, the masquerades enter bearing the 

following inscriptions on their wide masks: “spirit of death, the 

spirit of famine, the spirit of drought, breathe and die, drink and 

die, on Kyoto protocol we stand” (47). These inscriptions spur 

Inyene on to confront the reality of eco-degradation that has cut off 

the livelihood and survival of the people. He bares it all to Adam 

Smith, the oil merchant saying: 

 



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51 

 

We are dealing with environmental degradation and 

pollution here. These constitute the dispute. It’s not all 

about money. My people protest the way and manner you 

throw your master on them. That’s all! We must find 

solutions to these mishaps and poverty (50-51). 

  

This is the central message of the play – the clean-up of the 

Niger Delta and the amelioration of poverty that has become the lot 

of the majority of the inhabitants of the creeks. Eco-degradation as 

indicated by this play breeds poverty and when the people become 

desperate, they will agitate. In most cases, these struggle takes a 

violent dimension. 

 

Legal Conventions for Eco-Sustainability 

 In the play – Inyene, one of the inscriptions borne by the 

masquerades reads: “On Kyoto protocol, we stand”. This 

presupposes that there are legal frameworks that ought to guide the 

way humans treat the environment. One such is the Kyoto Protocol. 

Over the years and at several international conferences, meetings 

have been held to streamline activities that pose a danger to the 

earth, especially by the developed West. These conventions have 

also inspired individual nations to enact environmental laws to 

protect their environment as may apply to their peculiar 

circumstances. Environmental law in the opinion of Barau is a 

framework for achieving ecological sustainability. These include 

laws, pacts and penalties to guard, govern and guide individuals 

and institutions at local and global levels to stick to ways that 

favour the environment (101). 

 The Kyoto Protocol to the United Nations framework 

convention on climate change is one such pact that seeks to 

engender a safe earth that guarantees the future of generations yet 

unborn. This convention was adopted in New York on the 9th of 

May 1992 by 39 western industrialized nations with a fully grown 

market economy or transiting to same. The objectives of this 



AMA: Journal of Theatre and Cultural Studies 

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protocol are: to achieve enhancement of energy efficiency in 

relevant sectors of the national economy; protection and 

enhancement of sinks and reservoirs of greenhouse gases; 

promotion of sustainable forest management practices, 

afforestation and reforestation. Others include the promotion of 

sustainable forms of agriculture in light of climate change 

considerations and the encouragement of appropriate reforms in 

relevant sectors aimed at promoting policies and measures which 

limit or reduce emissions of greenhouse gases. Under this protocol, 

each party is expected to minimize adverse social, environmental 

and economic impacts on developing countries. (United Nations 

Framework Convention on climate change). 

 Another convention on climate change is the Montreal 

Protocol of 1999. This convention also aims at taking precautionary 

measures to control equitably total global emissions of substances 

that deplete the ozone layer, with the ultimate objective of their 

elimination based on developments in scientific knowledge. The 

convention further acknowledges that special provision is required 

to meet the needs of developing countries, including the provision 

of additional financial resources and access to relevant 

technologies. (United Nations Environment Programme). These 

conventions stipulate that the reality of global warming needs a 

concerted and practical approach, especially by the industrialized 

West to arrest the threat. Countries such as the USA, Japan, China, 

Britain and a great deal of Western Europe emit more greenhouse 

gases than the rest of the world put together. This is a consequence 

of their massive industrial activity and hence, there is a need to sign 

a pact that will ensure that there is a process of eliminating these 

carbon emissions. However, more than fifteen years down the line 

since these agreements were made; gas is still being flared all 

across the Niger Delta. The entire region is a cauldron of burning 

fuels by mostly Western oil companies with no practical steps to 

end such emissions. 



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53 

 

 In Nigeria, some laws and policies have been enacted to 

somehow give impetus to the drive to arrest the threat of 

environmental degradation and ecological drift that the country has 

been going through in the last half a century. Nigeria presently has 

twenty-eight legislations that serve as an instrument for 

environmental protection, planning, pollution, prevention and 

control. Section 20 of the 1999 constitution for example makes it 

an objective of the Nigerian state to improve and protect the air, 

land, water, forest and wildlife of Nigeria. Section 12 establishes, 

though implied that international treaties (including environmental 

treaties) ratified by the National Assembly should be implemented 

as law in Nigeria (Environmental Law Research Institute). 

 There is also the national policy on the environment drafted 

in 1998 by the Federal Environmental Protection Agency (FEPA). 

The goal of this policy is to achieve sustainable development in 

Nigeria through securing a quality environment adequate for good 

health and well-being; conserving and using the environment and 

natural resources for the benefit of present and future generations; 

and restoring, maintaining and enhancing the ecosystems and 

ecological processes essential for the functioning of the biosphere 

to preserve biological diversity and the principle of optimum 

sustainable yield in the use of living natural resources and 

ecosystems. Other ways through which this policy intends to 

achieve sustainable development include: raising public awareness 

and promoting understanding of the essential linkages between the 

environment, resources and development, encouraging individual 

and community participation in environmental improvement 

efforts; and cooperating in good faith with other countries, 

international organizations and agencies to achieve optimal use of 

transboundary natural resources and effective prevention or 

abatement of transboundary environmental degradation (Federal 

Environmental Protection Agency). 

 A return to the full implementation of these international 

treaties, laws and policies is what the play – Inyenecalls for. This is 



AMA: Journal of Theatre and Cultural Studies 

54 

 

significant especially now that the world is moving to the era of 

sustainable development with a focus on cleaner and renewable 

energy. With the fall in oil prices, a major catalyst for the crisis in 

the Niger Delta, Nigeria remains on the wrong side of history if 

practical steps are not taken to diversify the economy and ease the 

tension that oil politics generated over the years. At the moment, 

there appears to be no end in sight to stop gas flaring in the Niger 

Delta. Oil spills continue to become the daily experience of the 

people in this region. Inyene calls for a stop to gas flaring as 

indicated at the end of the play. 

 

Conclusion 

This paper x-rays the intricate connections between dramatic arts 

and the subject of human ecology. As the world grapples with the 

realities of its helplessness in the hands of a warming planet, arts 

have begun to question its stake and relevance in the field of 

science. The issue of agitations and crisis within the Niger region 

of Nigeria has continued unabatedly and playwrights in the last 

decade have found the parameter of ecodrama as a subject of 

enquiry and engagement. Udoka’s Inyene is one such literary 

discourse that stakes its relevance in this area. 

Recommendations 

• Nigeria and indeed the entire globe hangs on a precipice 

due to the exploitation of the earth’s resources and its 

attendant consequences. Therefore, she must continue to 

seek and domesticate strategies to deal with her ecological 

problems. 

• Government at all levels, groups and individuals must 

continue to seek avenues of dialogue and engagement to 

resolve all areas of conflict within the Niger Delta. 

• The subject of human ecology and the crisis of the 

environment is no longer the exclusive preserve of the 

sciences as the arts and drama in particular has continued 

to interrogate and interface with this area of study in recent 



Uzoji: Greening the arts: Arnold udoka’s Inyene and the connections between… 

55 

 

times. Hence, there is a need to further re-evaluate the 

curricula within the field of literary drama to embrace this 

growing and engaging subject area. 

 

 

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