Memory and Legacy in Ebrohime Road: A Film by K??lá Túb??sún
Dr Yewande Okuleye Ph.D, FRHistS
Health Equity Advocate | Thought Leader in Planetary Health, Research, and Patient Advocacy | Ph.D. Medical Humanities
On the closing night of Black History Month, Close Up Cinema London hosted the screening of Ebrohimie Road, K??lá Túb??sún’s evocative cinematic exploration of place, memory, and legacy. This film uncovers the story of Wole Soyinka, Africa’s first Nobel Laureate in Literature, a towering figure whose life and work have profoundly influenced Nigerian identity and literature. Subtitled A Museum of Memory, Túb??sún’s film dives into Nigerian social, political, and literary history through the lens of one unassuming yet storied street. Although Ebrohimie Road may appear at first glance like a typical campus residence, Túb??sún’s storytelling transforms it into something extraordinary: a witness to modern Nigeria’s unfolding legacy.
The story begins with Túb??sún’s request for Soyinka to recreate a 1969 photograph taken on the steps of 8 Ebrohimie Road, the University of Ibadan. Soyinka responded succinctly yet resolutely: “Interesting proposition,” he replied, “but not a ghost of a chance.”
Why would Túb??sún make such a request? And why did Soyinka decline it? In his refusal, Soyinka makes a powerful statement about memory and history: some memories are best left undisturbed, free from the alterations of time. For Soyinka, Ebrohimie Road was more than a residence; it was his family home, layered with complex experiences of sanctuary, confinement, and eventual return. It was there that he was arrested, imprisoned, and ultimately returned—a place forever marked by the paradox of refuge and displacement. By choosing not to revisit Ebrohimie Road, Soyinka safeguards a chapter in his life, keeping it intact and private, held in memory rather than revisited in reality.
Wole Soyinka’s legacy is foundational to Nigerian literature and the broader African literary canon. As Africa’s first Nobel Laureate in Literature, Soyinka’s work spans beyond plays and prose; it embodies a powerful voice against oppression and a fierce commitment to cultural integrity. His plays, such as Death and the King's Horseman, reflect his mastery of storytelling that bridges myth and contemporary realities, delving into complex themes of duty, cultural collision, and individual sacrifice. Through his writing, Soyinka explores Nigeria’s identity in the face of colonialism and political turmoil, affirming indigenous knowledge systems and the resilience of his people.
His activism also sharply resonates with Ebrohimie Road’s significance. Soyinka has been both a cultural and political figure, famously imprisoned during the Nigerian Civil War for his outspoken criticism of the Biafran conflict. This experience cemented his belief in art as a form of resistance and a mirror to society. His decision to distance himself physically from Ebrohimie Road, yet remain attached to its memory, is a profound act of preserving personal history while respecting the sanctity of its transformative role in his life. This street, like his body of work, holds Nigeria’s struggles, hopes, and resilience—a testament to the enduring spirit Soyinka has dedicated his life to expressing. By declining to recreate the photograph, Soyinka enables Túb??sún to reshape the narrative, allowing Ebrohimie Road itself to become the story’s focus. The house weathered over decades, transforms from a mere backdrop into a character, animated by voices of family, friends, colleagues, and his former students who bring its spaces to life.
As I learned about Ebrohimie Road, I felt a deep sense of nostalgia and loss. I once lived in Ibadan, in Bodija—a neighborhood that holds my happiest memories of Nigeria. I recall the feeling of freedom cycling through the neighborhood on my red Chopper bike and the quiet evening strolls beneath the glow of tree-lined streets. Yet, even as I wandered those familiar paths, I was unaware of the historical weight of Ebrohimie Road just a few miles away. Now, like Ebrohimie Road, my connection to Ibadan feels as though it is slipping into history: the house in Bodija has been replaced by new developments, leaving me with only memories of belonging and a lingering ache for a place and time that no longer exists. This family home on Ebrohimie Road, like my memories of Bodija, reflects the resilience and complexity of memory—steadfast yet shaped by the passage of time.
What unfolds in the film is a meditation on place, memory, and legacy—a narrative that transcends the individual, exploring how spaces carry the weight of history, transformation, and collective memory. Ebrohimie Road invites those who, like me, have left parts of themselves in places that no longer physically exist, to witness the stories embedded in our neighborhoods and homes. For many, these places shaped our identities, held our most cherished memories, and connected us to a shared history. Yet, as time sweeps through, familiar spaces transform or vanish, leaving only traces of remembrance.
?Yewande Okuleye 2024
Through Ebrohimie Road, Túb??sún’s film speaks to all of us, inviting those who have felt the impact of transformation firsthand—and those beginning to understand it—to reflect on how places, even as they change, hold a lasting influence. It reminds us of a sense of belonging and history that transcends geography, connecting us all to the power of memory and the spaces that shape us. Through these techniques, Túb??sún crafts a multi-dimensional portrait of Soyinka that resonates personally and culturally, moving beyond the surface to connect deeply with audiences.
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The film captures far more than Wole Soyinka's memories—it reveals a family home, an extension of the Drama department, and a vibrant confluence of people, ideas, and culture. Through personal narratives and intimate interviews with Soyinka's family members, colleagues, and former students, the film allows viewers to witness memories of childhood, friendships, and family life, set against the significant historical backdrop of events like the Biafran Civil War. Throughout, Ebrohimie Road offers glimpses into Soyinka’s private world, marked by his deep appreciation for Nigerian art. His choice to surround himself with symbols of creativity hints at the inspiration and solitude that fuel his work, inviting viewers to reflect on the objects and symbols that shape their own creative lives.
These techniques allow the film to transcend its specific subject, inviting audiences to consider universal questions about history, legacy, and cultural memory. It encourages reflection on how personal stories intersect with national narratives and how physical spaces can preserve cultural identity.
In Conclusion
Ebrohimie Road: A Museum of Memory is a rich tapestry of cultural legacy, personal memory, and historical significance. The film does more than recount Wole Soyinka’s life; it constructs a portrait of a place where individual and collective histories converge. Through interviews, archival imagery, and evocative cinematography, Túb??sún bridges past and present, making a universal appeal to preserve cultural memory.
For those who value layered storytelling, this film offers a profound viewing experience. It will resonate with anyone drawn to narratives of resilience, cultural heritage, and the intertwined nature of personal and national identities. Ebrohimie Road reminds us of the importance of honoring and preserving our shared histories—an invitation to reflect on the legacies we hold and the silent stories our spaces carry.
If you’re looking for a thoughtful, inspiring viewing experience this weekend, Ebrohimie Road offers a journey into the heart of Nigerian history and legacy. Watch the trailer here for a glimpse into this powerful exploration of place, memory, and the connections that ground us.
Ebrohimie Road is showing at Close Up Cinema. Book your tickets to experience this immersive reflection on memory, legacy, and cultural preservation.
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