Honour or Appropriation? The Debate Over Renaming the National Theatre After Soyinka
The reopening of the renovated National Arts Theatre in Lagos should have been a moment of pure celebration. With a N68 billion facelift courtesy of the Bankers’ Committee, the once-neglected edifice has regained its place as a hub of Nigerian culture. But its renaming as the Wole Soyinka Centre for Culture and Creative Arts has stirred more than applause.
At the centre of this debate stands Soyinka himself, Africa’s first Nobel laureate in Literature, who accepted the honour with visible reluctance.
Soyinka’s Mixed Feelings
For decades, Soyinka has been one of Nigeria’s fiercest critics of leaders who attach their names to public monuments, calling it a form of cultural appropriation. Now, with his own name adorning the Theatre, he admits the irony:
“I have to stand up in public and watch my name being put up as yet another appropriator. It just didn’t seem very well for me.”
Soyinka said he had long written off the building as irredeemable, but the scale of its revival forced him to “eat his words.” For him, the real honour lies not in the renaming, but in the fact that the Theatre has finally been restored to dignity.
The Appropriation Question
The bigger issue is whether renaming national landmarks after individuals — especially those still living — erases shared cultural ownership.
Should monuments be left untouched, carrying only their national or communal identity?
Or does attaching the name of a celebrated figure like Soyinka elevate their cultural relevance?
Critics argue that renaming the National Theatre risks shifting focus from the institution to the individual, creating a cult of personality around public heritage. Supporters counter that Soyinka, as Nigeria’s most celebrated cultural figure, is a worthy exception.
Beyond the Name: The Real Test
What truly matters is whether this monumental revamp signals a lasting commitment to Nigeria’s creative economy. The renovated Theatre now boasts performance halls, cinemas, exhibition spaces, and rehearsal studios. If maintained properly, it could transform Lagos into a cultural capital.
But Nigerians have seen many such projects decay after fanfare. The true honour to Soyinka would not be in signage, but in ensuring that the Centre lives up to its promise as a vibrant hub for generations of artists.
Final Word
Honouring Soyinka may be fitting, but the act should not distract from a bigger truth: monuments like the National Theatre belong to the people. As Soyinka himself noted, names fade, but what endures is the cultural life sustained within those walls.
