Once Upon an Elephant by Bosede Ademilua-Afolayan – Satire, Social Problems and Political Critique

THE SATIRE AND SOCIAL PROBLEMS IN BOSEDE AFOLAYAN’s “Once Upon An Elephant”

 Bosede Afolayan’s play, Once Upon an Elephant, is  a story that uses a traditional African village setting to tell a modern political story. The major objective of the drama is to use satire; which is a kind of comedy that uses sarcasm, exaggeration or extreme silliness to make fun of something serious ;to criticize real-life bad behavior among leaders in Nigeria and across Africa. The play isn’t just about a dictator, it’s an abrasive reflector that shows what happens when power and greed join together. This analysis will break down three major social problems the play mocks: the rise of the tyrant (King Ajanaku), the corruption of the people around him (the Chiefs and Serubawon),  the misuse of traditional customs for evil: and also the satires employed in the book.

The most important social problem is the issue of dictatorial leadership and tyranny, which the play dramatizes through the reign of King Ajanaku. The title itself uses the elephant as a metaphor for an oppressive, overbearing force in politics. Ajanaku seizes the throne through deceit and fraudulent means, disregarding the established traditions and the rightful successor. This is a critique of the “sit-tightism” or self-perpetuating syndrome seen in some African leaders, and the passage depicting his coronation ceremony (Scene Three) and the preceding manipulations by characters like Serubawon and his own insistence on being king despite not being the first son highlight the illegal and tyrannical foundation of his rule. The overall narrative of the play, where the people suffer under his excessive and brutal reign, is an extended commentary on the destructive nature of autocracy.

The play exposes deep-seated issues of corruption and the perversion of the justice system and traditional institutions. This is notably reflected in the actions of the chiefs and the king’s inner circle, who are either complicit in or benefit from Ajanaku’s illegal ascent and subsequent atrocities. For instance, the willingness of characters like Serubawon to perform the Olubori rites (rites to turn a mortal into an immortal) and the Ijedodo ritual (the horrific ritualistic rape of virgins for power) illustrates how personal ambition and corruption I’ll can lead to the subversion of sacred cultural and traditional laws. A specific passage illustrating Ajanaku’s corruption is when a man from Oguno village brings a complaint, and the king refuses to help him simply because the village did not increase their tribute. This instant emphasizes his kingship as an operation driven purely by greed and self-interest, not justice.

The extreme abuse of power, injustice, and legitimate violence are central to the play’s critique. Ajanaku uses his position not to serve, but to oppress and inflict pain. The most egregious example is the graphic depiction of the Ijedodo ritual which involves the ritual rape of virgins, culminating in the seizure and rape of Desola in a colanut farm passage, symbolizing the ultimate violation of the common person and the sanctity of life by the tyrant. Furthermore, the suffering of ordinary characters like Delani, Desola, and Odekunle under his rule, where their basic human rights are violated and any dissent is met with the risk of destruction, reflects the reality of oppressed people whose land “cries for justice” under a dictatorial regime, which is a major social problem the play addresses.

Betrayal among trusted individuals and the resulting moral decay are significant social problems that facilitate tyranny. The play details multiple instances of betrayal. Serubawon, the king’s close friend and chief, betrays the former King Oba Akinjobi by having an adulterous affair with his wife, Adebisi, which already shows a moral rot at the highest level of society. More critically, Serubawon then betrays the well-being of the community and his former friend’s memory by helping Ajanaku usurp the throne and advising him on heinous rituals. Ajanaku himself ultimately betrays the sacred institution of kingship—which is meant to protect the community—by committing acts like the ritual rape for immortality, completely abandoning the traditional values and the welfare of his subjects.   

The entire character and reign of King Ajanaku are a biting satire of the typical African dictator. The elephant in the play,once upon an elephant, is an ironic metaphor for someone who is ruthless and relentless;a leader who is literally too big to challenge. Ajanaku’s transformation into a tyrannical king is not just a tragic event but a ridicule of the belief that power grants invincibility or divinity. His elaborate rituals for immortality, such as the Olubori rites (mentioned in Scene Three), are mocked through the irony of his ultimate demise. The absurdity of a king who seeks to become a god to escape accountability, only to be defeated by the very people he oppressed, is a powerful satirical jab at leaders who cling desperately to power through superstition and brutality.

Afolayan mocks and criticizes the widespread corruption that has deeply taken root in the traditional justice system and the elite class. This is most clear in the depiction of the chiefs and inner court members who serve Ajanaku. Instead of acting as custodians of tradition and justice, they become sycophants and collaborators in his atrocities. For instance, the passage where the king and his chiefs demand higher tributes and royal dues from villages—even refusing to hear a case unless the money is paid—is a satirical commentary on the quid pro quo nature of governance, where access to justice is monetized. The corruption is humorously, yet grimly, exposed through the way Serubawon advises Ajanaku on performing horrific rituals, showing that moral decay and ambition trump any sense of duty or honour. The traditional institutions are shown to be hollowed out shells, only serving the whims of the person in power.

The play ruthlessly satirizes sycophancy, the act of flattering someone excessively to gain advantage. Characters like Serubawon and the other opportunistic chiefs, who constantly praise Ajanaku and encourage his self-destructive path, are vehicles for this critique. Their exaggerated displays of loyalty, such as the effusive speeches during the king’s ceremonies and the constant affirmation of his ‘wisdom,’ are meant to expose the opportunism of politicians and courtiers who thrive under corrupt regimes. This humorous critique mirrors the real-life issue where officials prioritize their personal gain and safety over speaking truth to power, often leading to devastating consequences for the nation. The passage where the chiefs assent to the king’s increasingly bizarre and cruel demands, despite their obvious private discomfort, underscores the cowardice and moral bankruptcy of the political elite.

A significant target of Afolayan’s satire is the misapplication and sensationalism of traditional beliefs and rituals for modern political gain. The central plot device of the Ijedodo ritual—the ritualistic rape of virgins to gain eternal power—is an extreme and grotesque exaggeration of the idea that ancient power can be harnessed to solve modern political problems. By depicting this horrific act, which requires the death of an innocent like Desola (as detailed in the passage describing her abduction near the kolanut farm), the playwright is satirically criticizing leaders who rely on dark, superstitious, and archaic practices instead of sound governance, accountability, and democracy. The satire is achieved by taking a traditional element and pushing it to a monstrous, absurd extreme to show the extent that a desperate,power- driven leader is willing to reach.

In conclusion, Once Upon an Elephant goes beyond simply narrating a folktale; it is a critical piece of modern political theatre. Bosede Afolayan uses satire not just to be funny, but to hold up a powerful mirror to society, exposing the deep-seated social problems of unchecked dictatorial power, the moral decay of corrupt institutions, and the opportunistic betrayal of cultural heritage. By showing the violent reign of the “Elephant,” King Ajanaku, and his eventual downfall at the hands of ordinary, courageous individuals like Iya Agba, Desola, and Odekunle, the play delivers a clear message. It asserts that no tyrant,(no matter how large or powerful)is eternal , and that bringing back justice and stability in a troubled society rests solely on the United resolve and bravery of the oppressed.