By Wole Balogun, Ph.D
On Tuesday, April 14, 2026, the proscenium stage of the Department of Theatre and Media Arts, Federal University Oye-Ekiti (FUOYE) came alive with an experimental stage performance of Tosin Tume’s Snakes & Snacks. The performance turned out to be highly thrilling, celebrative and moving, particularly in demonstrating the potentials of the theatre in engaging issues of intra-gender wars, migration, and culture shock in post modernist African/global societies.
As usual, the playwright, an Associate Professor specializing in Playcreating, Performance and Gender Studies, successfully dramatizes the possible ways that issues of gender and migration, which manifest most often in conflicts arising from intra-gender differences, xenophobia, culture shock, among others, may be resolved in the process of acculturation. 22-year old Vukile, ( Sharon
Ojewunmi, 400L) a South African bi-sexual young lady becomes the flat mate of 44-year old Mojisola ((Gloria lberia, 400L) a Nigerian widow and mother of two by providence, as both ladies secure positions as Masters and Postdoctoral researchers respectively in a South African University. Their different cultural backgrounds which had formed clearly different attitudes in them instantly create a culture clash, experienced on both sides. Vukile’s down-to-earth, post modernist stance collides with Mojisola’s conservative mannerisms seeped in strict upbringing and Yoruba cultural values. While Mojisola is shocked at Vukile’s seeming rude mannerisms, Vukile is equally taken aback with Mojisola’s seeming overbearing attitude.
Mojisola’s insistence on instilling certain African cultural and moral values such as respect for elders, decent dress sense, and general courtesies in relating with others etc, pays off as Vukile gradually and intelligently absorbs the values. Furthermore, the playwright creates in the two principal characters, Mojisola and Vukile, personalities who are good-natured, respectful of boundaries, and ever ready to acculturate rather than allienate. A shining example of the foregoing assertion is Vukile’s acceptance of Mojisola as a conservative African who respectfully but firmly rejects her sexual advances towards her (Mojisola) as a bi-sexual. More admirable in this acculturation triumph is Vukile’s eventual imbibing of conventional African values from the elderly Mojisola who insistently passed them on to her. Quite profoundly, Vukile vehemently shields Mojisola from xenophobic attacks from some extremist South African protesters. The engagement in this regard as achieved by the playwright is admirable, and successfully convinces the audience that xenohopia is needless in a society where everyone should rather be his or her brother’s keeper. The play’s strength is thus in dramatizing quite brilliantly, how issues surrounding migration and gender could be easily resolved especially across transnational boundaries.
Mojisola and Vukile therefore represent two distinct Africans whose enlightenment and cerebral nature make them negotiate the difficulties often associated with intra-gender differences, biases and migration challenges. Though differing in cultural roots and sexual orientation, they become stronger allies acculturating meaningfully to build a progressive African spirit of unity in diversity, thereby deepening socio-cultural progress and development. Vukile and Mojisola’s exchange of tangible cultural gifts of Aṣọ Ofi looms, from the Yoruba culture in Nigeria, and Umbhaco attire from the Xhosa culture in South Africa, is highly significant. The gift exchange demonstrates the need for Africans to shun divisive acts of xenophobia, intra-gender based violence, and other toxic acts capable of poisoning the humanity that African and indeed, the global community should uphold.
Student actors who spiritedly took part in the experiment were quite outstanding in showcasing their talents in acting and the skills taught them over the years in the department. While Sharon Ojewunmi and Gloria lberia exceptionally acted their roles well, Olabisi Paul who played Sabelo, the leader of the extremist xenophobic South Africans and his team were equally excellent in handling their characters. The chorus; Elijah Fadayomi, 400L, Magaret Ogbaji, 400L, Oluwashina Olukowade : 400L, Somisola Kolawole, 400L, David Arowosaye, 400L, Divine Akpabio, 400L, Opeyemi Oyetuyi, 100L, Adeola Akinbinu, 100L and lfunanya Ikechukwu,100L, who also doubled later in the performance as members of the xenophobic protesters were great at singing to enhance the tempo and mood of the performance as well as in acting as extremists.
Lecturers who watched the performance registered their admiration to encourage Associate Professor Tume, urging her to create more of such intellectually engaging drama. The Head of the Department, Associate Professor Mike Aderemi Adeoye eulogized the playwright for her impactful creativity. He said the experiment would have taught the students, especially those majoring in acting, directing and play writing great skills they needed to equally become successful in their chosen areas of specialization. Other colleagues in attendance included Prof. Olaide Taofiq Nasir, Dr. Uzordinma Umeyilorah, Mr. Gondo Isaac, Mr. Nsikan Bassey, Mrs. Ngozi Aneke, Mrs. Timi Kayode, Dr. Wole Balogun, Dr. Femi Lalude, Mr. David Tume, Mr. Alexandra Ajanaku, Mr. Godwin Kalu and Miss. Abiola Ogunleye
