Why I write about climate change —Mbajiorgu

Playwright, poet, and senior lecturer in the Department of Theatre and Film Studies, University of Nigeria, Nsukka (UNN), Greg Mbajiorgu, presented his latest collection of poems, ‘Plastics, Plastics Everywhere’ recently at the Senior Staff Club of the institution. He talks about climate change, theatre post-COVID-19 and leadership crisis in the Association of Nigerian Authors, among others in this interview. Excerpts:

 

WHY are you so fascinated by the environment, climate change particularly? I ask because you have creative works including the play, ‘Wake up Everyone’ and now your latest poetry collection, ‘Plastics, Plastics Everywhere’ addressing the issue.

I am fascinated by the environment because it is key to our survival. We often do not care about it because we fail to realise its importance to us. Without a clean and sustainable environment, we are doomed. The more we fail to worry about our environment, the more we ruin and contaminate our world. COVID-19 is the outcome of human irresponsibility and disrespect for both God, humanity and the universe at large. I don’t see why we should be prodded to take care of this beautiful world we live in.

Man is the only creature on earth that abuses and cannibalises the universe. The worst of our ecological acts of irresponsibility stems from our failure to realise that we are mere co-tenants in “a more-than-human world”. My environmental poetics is geared towards using literature to make Africans more conscious of the world they live in; to appropriate plastic in a way that it ceases to be a scourge in our world. If we can shun those flimsy plastics that endorses our ‘throw-away’ or ‘use and drop’ lifestyles, if we can stop littering with plastics, our world will be a better place. We can also promote bio-diversity by simply respecting all other living things on earth. By so doing, we will make the world a better place for all.

We can also become champions of the earth by reducing our tendency to pollute the planet and stop our destructive and fatalistic instinct. Unless we show respect to God and the universe, He handed over to us, which we can never re-create or re-invent, man will hardly know peace. Africans are busy preparing for heaven while dirt, trash, germs, diseases and plagues are suffocating our continent. Heaven is not a dirty place. As the saying goes, cleanliness is next to godliness. Men who live like pigs can never inherit the kingdom of God.

One way we can begin to heal our world is to ensure that we curtail population explosion, guarantee energy renewal and end insecurity arising from food shortage. We promote biodiversity and sustainability of our natural habitant/ecosystem, conserve fresh and potable water. This way, we can end the problems and crises stemming from acute water shortage, pay attention to climate change issues, and change habits that have fueled the menace of plastic waste and other waste-related problems.

 

Why the focus on plastic this time, and how many poems are in the collection?

Plastic waste is drowning our world; its catastrophic impact in our world is mind-blowing. Isn’t it strange that human-made plastic has completely transformed the way we live on earth? Tell me any aspect of our ecosystem that plastic has not impacted positively or negatively.

The book opens with a Dramatic Monologue: Ode to Plastic – a kind of Techno Monologue that stretches into eight pages without a break. I scripted it with solo actors and performance-oriented poets in mind. From page nine of the book, you then begin to encounter more conventional poems. The popular poems are 30, and cover virtually every aspect of the plastic problem in our world:

 

How long did the work take from conception to publishing?

It took a year and a half to do the consultations and research and to familiarise myself with the multi-dimensional nature of plastic/plastic-related issues. One who does not fully grasp the issues at stake in this diverse area of the polymer-related problems cannot craft poetry out of it. After being correctly schooled on the issues, it didn’t take more than eight months to write the entire poems in the volume.

 

The way you have engaged with the environment, I’m not sure people still know you as a dramatist and teacher. Do you still do solo performances?

I have contributed my bit in the area of solo performance and mono-dramatic studies. Our latest book titled ‘50 Years of Solo Performing Art in Nigeria Theatre – 1966 – 2016’ edited with AmanzeAkpuda was released in 2018. And upon its several celebratory press reviews, we’ve just been informed that Professor Carolyn Nur Wistrand has reviewed it for African Literature Today, the oldest international journal of African Literature in the world.

At the moment, I am working on my first solo drama on how environmental issues play out in our family lives. This is my first experimental attempt to marry solecism, minimalism, ecology and environmentalism. It promises to yield an exciting fruit. Once the script is ready, I will re-awaken my skills as a solo performer, and tour selected cultural centres across Africa.

 

What role can drama play in this period of Coronavirus and related crises in our society?

The same role it has always played in the past. Drama will continue to serve as the mirror of the society; it will reflect on the consequences of this terrible pandemic. It will continue to remain the conscience of society, and with the changes occasioned by the scourge of COVID-19, there is no doubt that solo performance will make a comeback and retake centre stage in global theatre practice. Those who stream their live performances on zoom and other virtual spaces should be reminded that it is not possible to stage live theatre on the internet. Once it’s on the internet, it ceases to be a live production.

 

The Association of Nigerian Authors (ANA) is riven by a leadership crisis, as a long-standing member of the body, what do you think is the way out?

My message to all members of the Association of Nigerian Authors is brief, direct and straightforward: let’s stop fighting over mundane issues, let’s use more of our strengths and creative power turning out books that will change the ugly trends in our nation. I don’t understand why authors should behave like the greedy politicians they are meant to checkmate and re-direct. As far as our profession is concerned, posterity will only remember us for our great works, not for our political intrigues.

It appears the MammanJiyaVasta’s gift [36.9 hectares land in Abuja] to authors has become more of a burden than a blessing to ANA. The politicisation of our Association today stems from a selfish struggle to control what is left of the Mbappe “treasure”. To think about it, those icons (Achebe, Soyinka, J.P Clark e.t.c) whose literally accomplishments compelled Vasta to donate that land to authors are not known for material acquisition and greed. We have become nothing but a colossal disgrace to our founding fathers and forebearers.    Until we stop enacting Professor Jonah Onuoha’s ‘Tout theory of politics’ at ANA’s yearly conventions, authors with international reputation will continue to avoid our gatherings.

 

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