LASU
JOURNAL OF HUMANITIES, 
EDUCATION & LAW
© \  Vol.l, No.l, Jan., 2018
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LASU Journal of Humanities, Education & Law 
Vol. 1, No. 1, Jan. 2018
ISSN: 2734-2204
EDITORIAL POLICY
Journal o f Humanities, Education and Law is a multidisciplinary and peer-reviewed Journal of the 
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Contributors
Adewuyi, Temitayo, Dept, o f Psychology, Faculty of Soc. Sciences, Lagos State University, Ojo. 
Atolagbe, Adebukunola, Dept, o f English, Faculty of Arts, Lagos State University Ojo.
Babatope, Babafemi, Dept, o f Theatre Arts & Music, Faculty of Arts, Lagos State University, Ojo 
Bello, Wasiu 01aide,Dept of Public Admin., Faculty of Mgt. Sciences, Lagos State University, Ojo 
Egbokhare, Olayinka, Dept, o f Comm. & Language Arts, University of Ibadan.
Bamgbose, Jimoh Adele, Dept, o f Political Science, Faculty o f Soc. Sciences, LASU.
Fajonyomi, Olubanji DepL of Public Admin., Faculty of Mgt. Sciences, LASU.
Fasehun, McNezer.O. College of Mgt. & Soc. Sciences, Wesley University, Ctedo, Ondo State.
Fatile, Jacob Olufemi' Dept, o f Public Admin., Faculty of Mgt. Science*, LASU.
Kolawole, Bashir Olayinka, Dept, o f Economics, Faculty of Social Sciences, LASU.
Lawal, Olawale, DepL o f History & Inti Studies, Faculty Arts, LASU.
Nwatulegwu, B.I., DepL of Mgt. Tech., Faculty of Mgt. Sciences, LASU.
Oguntola-Laguda, Danoye, Dept, o f Religion* dr Peace Studies, Faculty of Art*. LASU.
Olateju, O.L, DepL of MgL Tech., Faculty o f Mgt. Sciences, LASU.
Olateju, R.O., DepL of MgL Tech.,, faculty of Mgt. Sciences, LASU,
Onafalujo, Akinwunmi Kunle, Dept, o f Insurance, Faculty of Mgt. Sciences, LASU.
Paramole, Kabir Olawale, Dept, o f Religions & Peace Studies, Faculty of Arts, LASU.
Uthman, Razaq, Bolawaye, Doctoral student, Dept, o f Religions & Peace Studies, Faculty of Arts, LASU.
___________________  C o n t e n t s ------------------------------
1. Local Government Financial Autonomy and Infrastructural
Development at the Grassroots Level in Lagos State.................................................................Page 5
2. N igerians Pension Reforms: A Critique of the Social Security System.................................Page 22
3. Effects of Regulatory Agency on Project Success in Lagos State............................................Page 34
4. Government Expenditure and Financing of Infrastructure
Development in Nigeria: an Empirical Investigation..................................................................PaSe 49
5. An Exposition of Nigerias External Relations during
the YaPAdua Administration, 2007-2009......................................................................................PaSe 62
6. Peer Influence on Alcohol Consum ption and
Cigarette Smoking among U ndergraduates................................................................................Pa8e 69
7. Their Rights, our Rights: A Critical Response to
Homosexuality and Violence in N igeria..................................................................................... PaSe 80
8. Crime M anagement in Nigerian G overnm ent an Islamic Perspective.................................Page 96
9. Democratic Ideals, Corruption and Ideological Disillusionment in
Chinua Achebes Short Stories The Voter and The M adm an.................................................. Page
10. International Protection Laws and Refugees Movement in Africa........................................Page 415
11. A H um anist Appraisal of Foluke Ogunleyes jabulile................................................................Page 124
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A Humanist Appraisal of Foluke Ogunleyes 
Jabulile
Olayinka A. Egbokhare, PhD & Babafemi Babatope, PhD
-  Abstract
Humanism is “a system o f thought centered on humans and their values, capacities, and worth. ” 
Humanism is . . an appeal to reason in contrast to revelation or religious authority as a means 
o f finding out about the natural world and destiny o f man, and also giving a grounding for 
morality...Humanist ethics is also distinguished by placing the end o f moral action in the 
welfare o f humanity rather than in fulfilling the will o f God. ” Though the artist’s primary role is 
to entertain, based on the principle o f socio-aesthetic harmony, it is obligatory for him or her to 
provide functional amusement. Humanism positions man at the centre stage o f human existence 
and places on him the responsibility o f making life meaningful, worth living and developmental. 
This has been the elemental pivot o f humanistic drama from inception. This paper attempts an 
analytical review o f Foluke Ogunleye’s Jabulile within the context o f humanism. It argues that 
even though Ogunleye may not have been an avowed humanist (in the sense o f its godlessness), 
her drama, with particular emphasis on Jabulile, subscribes to the tenets o f cultural and literary 
humanism. The paper concludes that Ogunleye’s art does not only exemplify her humanistic 
disposition, it equally offers a panacea for the amelioration o f the prevalent social 
dysfunctionalities in Nigeria.
Keywords: Jabuile, humanism, godlessness, dysfunctionality.
Overture; Ideological Perspective and Playwright’s Biography
The concept of humanism predates the term “humanism” made-up to depict it. It is an age long 
philosophical ideology that embraces the various manifestations of munificence, kindness and 
goodwill toward one’s fellow humans (Barnett, 2014; Wikipedia). There are as many definitions 
of humanism as there are humanists. Equally, there exist disparaging definitions of humanism, 
from its critics, predicated upon shallow understanding and gratuitous zeal to discredit the 
concept and its devotees. In order to situate our preoccupation in this paper in perspective we 
shall ride on the submission of Fred Edword; a director of communications and director of 
planned giving for the American Humanist Association, who had served the organization in 
many capacities; as editor of the Humanist magazine, executive director, and as national 
administrator. He was also chair of the Humanist Manifesto III Drafting Committee from 2002 
to 2003 and editor of the Creation/Evolution journal from 1980 to 1991 (Humanist Magazine,
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2008). Edword succinctly articulates the fundamental conclusion of humanistic tradition in the 
following words:
When people are left largely free to pursue their own interests and goals, to think and speak 
for themselves, to develop their abilities, and to operate in a social setting that promotes 
liberty, the number of beneficial discoveries and accomplishments increases and humanity 
moves further toward the goal of greater self-understanding, better laws, better institutions, 
and a good life. (2008)
Humanism is a human-centered ideology. Its main focus is the fact that humankind is the 
architect of human being’s fortune and misfortune and that the crisis that plagues human life is 
for humankind to resolve. According to Luke Mastin:
Humanism is a broad category of ethical, metaphysical, epistemological and political 
philosophies in which human interests, values and dignity predominate. It has an ultimate 
faith in humankind, believes that human beings possess the power or potentially of solving 
their own problems, through reliance primarily upon reason and scientific method applied 
with courage and vision... It is an optimistic attitude to life whose ultimate goal is human 
flourishing, doing good and living well in the here and now, and leaving the world better for 
those who come after. As an ethical doctrine, it affirms the dignity and worth of all people 
and their ability to determine right and wrong purely by appeal to universal human qualities, 
especially rationality. It searches for truth and morality through human means in support of 
human interests, and focuses on the human capacity for self-determination. (2008)
Humanism positions man at the center stage of human existence and places on him the 
responsibility of making life meaningful, worth living and developmental. This has been the 
elemental pivot of humanistic drama from inception. There are many types of Humanism but 
one which is specifically of interest to us for the purpose of our discourse is Humanistic 
Psychology. Wikipedia, the free encyclopedia captures the ideology of Humanistic Psychology in 
the following words:
Humanistic psychology is a psychological perspective which rose to prominence in the mid- 
20th century in response to Sigmund Freud’s psychoanalytic theory and B.F. Skinner’s 
Behaviourism. The approach emphasizes an individual’s inherent drive towards self- 
actualization and creativity. Psychologists Carl Rogers and Abraham Maslow introduced a 
positive, humanistic psychology in response to what they viewed as the overly pessimistic 
view of psychoanalysis in the early 1960s. (Wikipedia)
Humanist thought has surfaced in human history as far back as the classical period. 
“Humanist thought can be traced back to the time of Gautama Buddha (563- 483 B.C.) in 
ancient India, and Confucius (551 - 479 B.C.) in ancient China, although the term “humanism” 
is more widely associated with Western Philosophy” (Wikipedia). In ancient Greece, Thales, 
who is credited with creating the maxim “Know thyself’ in the 6th Century B.C., is sometimes 
considered a proto-Humanist. Xenophanes of Colophon (570 - 480 B.C.), Anaxagoras, Pericles 
(c. 495 - 429 B.C.), Protagoras, Democritus and the historian Thucydides (c. 460 - 375 B.C.) 
were all instrumental in the move away from a spiritual morality based on the supernatural, and
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the development of free thought (the view that beliefs should be formed on the basis of science 
and logic, and not be influenced by emotion, authority, tradition or dogma). (Wikipedia)
The dramatic arts, right from the classical period has in one way or the other featured 
humanistic thematics even before the label was invented. In Aristophanes’ Lysistrata, the 
eponymous heroine took the bull by the horn, she gathered her fellow women and together they 
put an end to a seemingly endless war. Christopher Malore’s Doctor Faustus traded his soul 
with the devil for power and faced the consequences of his action. The Medieval Anonymous 
Everyman advocates doing good to fellow human beings, as that is what counts on the long run. 
Arthur Miller, in his modern tragedy thesis play, The Death o f a Salesman, attributes the tragedy 
of the masses to the failure of the society and calls for a societal remedy. Ola Rotimi”s If...a 
tragedy o f the Ruled and The Hopes o f the Living Dead seeks human evolved remedies for the 
societal aberrations in the worlds of the plays. The list is endless. Foluke Ogunleye in her classic 
play Jabulile, has not only followed this noble course of her artistic progenitors, but has opened 
a new vista of a humanistic approach to the amelioration of social dysfunctionalities.
Professor Foluke Ogunleye studied at the University of Ife (now Obafemi Awolowo 
University) and the University of Ibadan. She was at a point, the Head of the Department of 
Dramatic Arts, OAU, where her research interests included Drama and Media Arts. An actress 
and director, she formed her Theatre Company, Christian Multimedia International (formerly 
Christian Theatre Studio) in 1990. She authored over thirty plays for stage, screen and radio. 
She taught Dramatic Literature at the Department of African Languages and Literature, 
University of Swaziland, Kwaluseni. She produced and directed many plays and films, was 
involved in the pan-African film and culture festival, FESPACO, and edited many humanity and 
theatre journals. Until her death, she lectured at the University of Botswana, Gaborone, 
Botswana. She was an avowed Christian, a benign fellow, a source of inspiration to her students 
and colleagues and an amiable personality
Introduction
While reading through Jabulile, one gets nostalgic because the play reminds one of several 
folklores from oral tradition across cultures. One thinks of the Yoruba drama about the orphan 
girl, “Tanimola” and the classical story of Cinderella which up till the >ear, 2015, was the subject 
of a box office hit in Hollywood. Jabulile is a tragedy written by Foluke Ogunleye to chronicle 
the life of the play’s eponymous heroine. Jabulile dramatises the story of an orphan girl who, 
faced with her parents’ tragic prematu re death, subjected to untold hardship from her aunty, 
determines to make it in life through hard work, tolerance and perseverance. She, despite her 
personal misfortune, decides to channel her resources to help her community via the 
establishment of a community development centre. She however loses her life to HIV/AIDS 
without being culpable.
The researchers’ treatment of the play as a humanist’s submission focuses on some themes 
which include- the plight of the orphan, HIV and the morality issue, HIV and Stigmatization, 
Structural failure of policies in the face of exigencies, gender violence typified by rape, man’s 
inhumanity to man, the ills associated with alcohol and drug abuse, the uncertainties of the law 
of sowing and reaping and how ultimately good still overcomes evil. The play raises questions
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such as, why do innocent people have to suffer? Why is society not always in a position to help 
the helpless? The author raises the need for us to have society-friendly attitudes and be more 
humane.
Humanism is derived from the Latin concept “humanitas” which connotes benevolence 
towards fellow humans. It also refers to the values imparted by human learning. Humanism is 
closely related to philanthropy, exhibiting a friendly spirit and good feelings towards all men 
without distinction (Wikipedia). The assumption is that this feeling is displayed by humans 
alone (so animals cannot feel towards one another in this strictly humane way). Classic writers 
of Latin like Cicero used the word humanism in relation to “pdite learning” (Wikipedia). 
Foluke Ogunleye, in her rendering of the story of the life of Jabulile, evokes all of these 
reactions in the reader. This paper is an attempt by the researchers to bring out aspects of the 
play that present not just the humanist in the writer but the benevolence in the reader or 
audience of the drama.
First, we wish to disabuse the mind of the reader from any assumption that the reference 
to humanism here focuses on the lack of faith in God or being in a state of unbelief. The writer 
of this play was a professing Christian who had written and produced many evangelical drama 
pieces. In fact, she rounded off the preface to Jabulile with a sermon.
This play is raising a voice on behalf of all the Jabulile’s of this world. God has designed you
to be happy as your name implies. This is an offering for you, so, go further and be happy.
Thus, for us, the argument is that in this play Ogunleye’s lens focuses more on how 
humanity can be saved by people being benevolent to their fellow humans. Using some popular 
themes, she paints a picture of man’s inhumanity to man. Jabulile stems from the morality play 
tradition. However, unlike the happy ending of most morality plays, Jabulile ends in tragedy. 
Here, we have a case of good not lending to good and reaping what one did not sow. In what 
appears to be a synthesis of several definitions, humanism is operationalized as:
a philosophical and ethical stance that emphasizes the value and agency of human beings, 
individually and collectively, and generally prefers critical thinking and evidence 
(rationalism empiricism) over established doctrine or faith) fideism). The meaning of the 
term humanism has fluctuated, according to the successive intellectual movements which 
have identified with it. Generally, however, humanism refers to a perspective that affirms 
some notion of a “human nature.” (Wikipedia)
The humanist drama is not about passion, or mystery or allegory. It tries to promote 
integration of a story-with popular values with the aim of imparting the viewers and the society 
at large. According to McClinton (2006), “Studia humanitas or studies of humanities were 
delineated from studia divinitatis or studies of divinity, which concentrated on religious matters.” 
So, it has not always been the case that humanism meant that the proponents did not believe in 
God. Rather, some of the early humanists were devout Christians who “focused on this life and 
its secular activities, not religion or the wellbeing of the soul in an afterlife; in other words, they 
were human-centred not church-centred.” (McClinton, 2006) It is worthy of note that humanists
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themselves were generally “teachers of grammar, rhetoric, poetry, history and moral 
philosophy.”
In Europe, while using drama as a vehicle, humanists urged political leaders to practice 
statesmanship, businessmen to become more generous to the less privileged and generally for all 
to become more moral. These humanists spoke out against a broad range of political, social, 
economic and religious evils. They were ardent reformers of society’s ills. (Strathern, 2005; 
McClinton, 2006). While writing about Erasmus who wrote the Greek edition of the New 
Testament, Wells (2005) notes that he was a reformer and a liberal like other humanists. 
Erasmus held the view that the essence of religion was morality and rational piety or what he 
called “the philosophy of Christ” rather than ceremony or dogma”. Elence, these humanists 
wrote to promote doing right by others out of responsibility and not necessarily because one 
held a religious belief.
The line between the moralist playwright and the humanist is somewhat thin. A moralist is 
defined as “someone who has very strong opinions about what is right and what is wrong” 
(vocabulary.com). A lay man’s definition of a moralist was simjiy a “moral person” and later 
person who moralizes or makes authoritative comments on moral issues. The Latin root word 
“moralis” means pertaining to morals. The moralist playwright plays the role of society’s 
watchdog, police or conscience. The moralist like the humanist looks out for the interest of all 
and preaches through drama, the entrenchment of values and virtues. They point out human 
flaws and suggest the right type of social forces. The paper therefore examines the array of 
societal ills presented in Jabulile as well as alternative or humane counter behaviour or acts in 
the twenty-one scenes of this tragic play.
In Scene 1, we are introduced to Jabulile, the heroine and her mother Siddie. Later in 
Scene 2, we meet the antagonist Dudu and the stage is set for the show of strife which Dudu 
puts up against her niece all through the story. The subsequent scenes introduce us to Sipho 
(Jabulile’s father), the family’s Pastor, Bheki the Master of Ceremony and the choir. The scenes 
show the couple’s activities on their last night before they move to the big city. We witness the 
display of ill-feelings by Dudu towards Jabulile and her parents. Here we see the flaws in this 
character as she plays the victim and blames others for her woes. Everyone had contributed to 
her ill fortune (except herself); her parents, her sister, her brother-in-law, even her young niece. 
She is presented as one who was grumpy and devoid of the joy of life. This portrayal is in 
contrast to the happy picture of a loving family which we see of Jabulile and her parents. From 
their calm loving verbal exchanges to the testimony of the Master of Ceremony, Brother Bheki; 
“while they have been here, they have touched our lives in various ways” (Scene six, p.14)
Another theme that surfaces in these opening scenes is man’s quests for new beginnings, 
the couple was moving to the city in search of the proverbial ‘golden fleece’. Like Siddie said:
This is a chance of a lifetime, Sipho has received a wonderful offer to teach in a big 
missionary school in the city, and I have been offered a job in the missionary hospital as well 
(Scene 3, p. 7).
Siddie also mentioned the fact that it will be a “wonderful opportunity” for Jabulile to 
attend a school where music (a subject she was interested in) is taught. To further drive home
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this moral lesson about bad things happening to good people, Sipho, in a statement that was 
ominous said to her daughter,
You are a good girl and good people sometimes face a lot of oppositions. I want you to 
know that you may still encounter a lot of unpleasantness in life (Scene 5, p. 13).
However, her concluding statement that “nobody can attain the height of happiness in life 
without seeking to make others happy as well,” did not hold true in Jabulile’s case. Much as 
Jabulile sought to make others happy, the play does not show her as receiving happiness in 
return, except of course we speak of the joy in seeing people she taught at the centre to eke a 
living out of their miserable past.
Humanism and the theme of the Wicked Relative
In other popular moralist plays earlier cited like Cinderella and “Tanimola”, we have characters 
that played the wicked relative; either an aunt or a step-mother. We were introduced to the 
wicked aunt “Dudu” in the first scene of the play. Her first utterance prepares the reader for 
what was to follow. Here was a fountain of bile and bitterness and everything she said from then 
on did not come as a disappointment or shock: “Stop shouting in my ears, I wonder why you are 
so mannerless. Is that the way to welcome somebody of my age? Scallywag.” This tirade is in 
response to a simple, friendly greeting from her young niece. The play is replete with examples 
of Dudu’s flawed character. She claims she was deprived of education to her sister’s advantage 
(p. 8). Later, we learn that she had an equal opportunity as her sister to get education but she 
failed her examinations for two consecutive sessions and refused to repeat because she did not 
want to be her sister’s classmate. Dudu is also portrayed as an insolent, rude, uncouth woman 
whose use of language is flagrant. We see her in her “shebeen” as she insults her patrons as well 
as the compromising law enforcement agent whom she tells to shut up (p.17 and 18). In the 
same scene 7, even her husband gets the shaip edge of her tongue when he tried to caution her 
about exposing their daughter to the dangers inherent in serving as a sales girl late at night in a 
liquor store. Dudu’s tongue is so poisonous that even when she pretends to be commiserating 
with her niece, she ends up mocking her; “Ah poor girl. Poor dear Jabulile, how unfortunate you 
are in life” (Scene 8 p. 21)
Maduna, (Sipho’s uncle) quickly corrects her by saying “don’t pronounce her 
unfortunate”. Also in the same scene, we see her as a greedy fox whose avarice came to the fore 
as she demanded to be given the responsibility to care for her niece and manage the property of 
her departed sister and her husband. Her greed is only matched by that of Sibusiso who left the 
meeting after learning there was no property to share, saying: “if I knew this was the state of 
things, I wouldn’t have bothered to waste my time coming” (Scene 8, p. 23).
Dudu showcases her wicked trait in scene 9, where she metes out punishment to Jabulile 
to torture her and make her say where her parents’ savings were kept. In fact, the Bank 
Manager testifies to her evil nature when he said: “You are a very wicked woman” (scene 10, p. 
30).
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This wickedness was visited not only on her niece but also on her husband and son. 
Surprisingly, in at least two instances, we see even her “golden” daughter being on the receiving 
end of her sharp tongue. But like all wicked relatives—aunts, mother-in-law, step-mothers, 
Dudu eventually suffers a devastating personal loss.
One major theme featured in Jabulile is that of the plight of an orphan. Like earlier 
mentioned, the motif of the orphan is as old as literature itself. One example cited is that of 
Cinderella, a story written as far back as 1697. Other popular orphan classics from the Western 
world include Snow White, Jane Eyre, and Gulliver’s Travels and the famous contemporary 
literature: Harry Porter. Writers of these stories always feature one character in common—the 
wicked relative. Looking through all these orphan stories, the themes of poverty, despair, 
exploitation, abandonment, isolation, neglect, ill-treatment are recurrent. These orphans may 
have lost both or either parent. As a result of this they are left in the care of mean relatives who 
mistreat them or take advantage of them. Like Chirwa observed:
Orphans are most likely to fall into both situational and structural poverty; to have their 
rights violated in various ways and consequently to less participate in the society in which 
they live. (2002)
The fictional orphan is a replica of the orphan in real life as Chirwa shows in this article 
“Social Exclusion and Inclusion: Challenges to Orphans in Malawi,” In an interview with one of 
the orphans in his story, the writer shows how these young children are maltreated by their 
Grandmother and Uncles whose only interest is in taking the house left by their dead relatives. 
Some of these orphans sampled in the report dropped out of school and the girls were forced 
into early marriage or lured into prostitution. Some of the boys ended up on the streets doing 
odd jobs or taking part in criminal acts. Chirwa observes that “increasing number of orphaned 
children are becoming destitute. In a similar view, Friis opines:
The lives of fictional orphans are often depicted as lives in coldness, cruelty, neglect, 
starvation and imprisonment. They grow up in families without affection and love. (2013)
This probably explains why the children grow up either living rough lives or struggling for 
self-reliance or empowerment. This would have been the case with Jabulile as her Aunt made 
life unbearable for her, but for the efforts of her uncle, who on the other hand did all within his 
power to get her a scholarship from the mission to make sure she did not drop out of school. 
Dudu also first showed interest in caring for Jabulile because she thought there was some 
inheritance to misappropriate and wrongfully take. The moment she realized Jabulile was not 
going to get anything in trust fund or inheritance, she saw her niece as a burden, just like 
Sibusiso and the other relations who ran off at the bequest meeting. The actions of these 
characters go a long wSy* to prove that the spirit of volunteerism and humaneness is fast 
disappearing from our communities. It appears man has refused to see the truth behind the 
assertion by Albert Schweitzer that “until he extends the circle of his compassion to all living 
things, man will not himself find peace.” The treatment of orphans in the society as showcased 
by the treatment of the heroine of this play calls attention to how the society has failed in its 
role. Most African countries have Ministries of Women and Children Affairs, Ministries of
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Justice, nongovernmental organizations and other related bodies, yet many orphans still live in 
daily torture in the hands of the people who aredesignated as their care givers.
One of the reasons for this as Chirwa notes, lies with the failure of the society itself. To 
him, “family structures are being weakened and disrupted and we need to build a social fabric 
capable of providing support for the orphan based on social morality” (2002). If Dudu knew she 
had a social responsibility towards her late sister; she would not have opened up such a 
vulnerable person to despair and hatred. Even though the Bank Manager could see through 
Dudu’s ill-intention towards the orphan, there was nothing he could do to protect her. Dudu 
later lamented “If I had known how much trouble I would experience as the next of kin to an 
indigent idiot, would I have volunteered when they were looking for somebody to take care of 
this bastard”(Scene ll,p.32). This goes on to show our society’s lack of comprehensive legal 
provision for the protection of orphans. If families are failing in their responsibilities towards 
orphan, maybe the government needs to be more humanitarian in its structure by providing a 
National Orphan care programme.
Still in the shadow of the orphan story is the theme of the heroine as a victim. Jabulile 
becomes orphaned not because her parents suffered prolonged illness but because they were 
unfortunate to have engaged the services of a drunk driver who on the eve of their departure to 
the city was busy reveling in the Shebeen managed by Dudu. We are also privy to the 
information that the reason more people patronized Dudu’s is because unknown to them, she 
adds Dagga (sounds like dagger) a special ingredient that increases the alcohol content. The 
theme of the innocent victim is very common in the plays of Foluke Ogunleye (examples are 
Nest in a Cage and The Innocent Victim). I .ike Awoyemi observes:
T he sufferer in Ogunleye’s plays become victims not because they are guilty: they are 
inn ocen t. However, either as a result bf cultural practices, evil counseling or bad blood, they 
suffer th e  co n seq u en ces  of the action of others. (2014:208)
Thus, even as culpable as Dudu is in the death of her sister and brother-in-law, she still 
goes ahead to cheat Jabulile out of her inheritance and then visits her with untold suffering and 
deprivation all is a pure show of hatred. Like earlier noted, the humanist’s dramaturgy hotls out 
both bad and good examples in the society as a lesson to all. Here, we see Jabulile not only as an 
orphan but also as a victim who suffers great misfortunes through no fault or wrong doing on 
her part.
Humanism and the theme of Gender Violence -Rape
One of the greatest injustices that can be meted out to any woman is to forcefully have carnal 
knowledge of her. The theme of gender violence is one that has featured in many plays and in 
daily discourse. It appears almost daily on most of the crime pages of our newspapers. Gender 
relations are a structure of the society but they are historically formed and are continually 
transforming .The ideologies about gender are taken from our peculiar experiences within our 
culture and gender perceptions depend on ones experiences. In Jabulile, we see two faces of 
gender-based violence and peculiarly, we see the two sexes being perpetrators of this ill. Almost
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all through the scenes of the play, we hear Dudu inflicting verbal pain on all her targets, both 
female and male, but most especially on her husband, her son and her niece, the heroine of the 
play. No one escapes Dudu’s verbal missiles. They are hurled effortlessly and with calculated 
meanness. This type of violence is stereotypically credited to women. The aim usually is to put 
the individual at the receiving end down and to dampen his or her morale. This type of gender 
violence is a subtle but psychological attack that can leave lasting damaging effect. Examples can 
be seen starting from the first scene of the play—“You scallywag” (from Dudu to Jabulile)— 
that husband of yours ... it is your good fortune that is making you arrogant-,. I am going to my 
small hovel...you drunk oaf...you roughnecks...which acquaintance o f yours is rich enough to
invite you to the Orions?.....some people are worse than jellyfish...Shut up and stop making a
scene (to a Police Inspector)... the number of your children surpasses the ability of your purse... 
These are ten mild samples from Dudu’s repertoire of verbal assaults.
The other type of gender violence exhibited in the play has a more devastating effect and 
usually enjoys more coverage and discussion and is easier to identify. This form of violence is 
almost always targeted at females and often goes unreported and thus unpunished. Violence 
against women is a persistent and universal problem occurring in every culture and social group. 
It has been called “the most pervasive and yet least recognized human rights abuse in the world” 
(UNFPA). Gender-based violence is that which involves men and women in which the female is 
usually the victim and which is derived from unequal power relationships between men and 
women. Gender-based violence can lead to a variety of unhealthy consequences, behavioral and 
psychological problems, sexual dysfunction, relationship problems, low self- esteem, depression, 
suicidal thoughts, crimes of passion, risk taking, among others. A report shows that one in four 
South African men admitted to rape (www.theguardian.com). The study also shows a significant 
relationship between gender-based violence and HIV infection in South African women. 
Another major dangerous occurrence is the widely held belief that sleeping with a virgin is a 
cure for HIV/AIDS. This is where the humanist in Foluke Ogunleye again comes to the fore in 
this tragedy. Unlike the tradition in most orphan stories where there is a Prince Charming 
waiting by the corner to sweep Cinderella off her feet, Jabulile comes face to face with another 
vicissitude of life. Like many reported rape cases, Jabulile was raped by a known assailant. A 
report has it that 76% of the victims in a study in South Africa claimed to have been raped by 
people they know.
('Www.theauardiatandcomhttp://www.hrw.org/legacv/reports/2QQl/safrica/ZAFINAL03.ht 
m#P491 630531.
In scenes 14-16, Phindile, the envious cousin, who fully assisted her mom—Dudu—in 
maltreating Jabulile, succeeds in luring the innocent girl to a make-believe party.
This scene is another lesson in man’s inhumanity to man. Not only was Jabulile lured to an 
arranged gaudy setting. She was made to wait for her assailants and to make her conquest easy, 
her drink was laced with sleeping tablet. This is another common feature of date rapes. The 
rapist is usually such a coward that he prefers to violate a woman who has been made helpless 
through the aid of drugs. Foluke Ogunleye’s handling of an otherwise painful theme is calm. 
The playwright saves us from the traumatic experience of seeing snaps of a rape by taking us 
away from the scene just as the stage is set for the devastating episode. While commenting on 
Ogunleye’s treatment of issues such as this, Awoyemi points out the fact that “she is definitely
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concerned about the girl child: her plays have an uncanny empathy with the category of young 
girls who are sexually naive and at times get themselves into trouble because they are innocent 
victims of the society” (2014: 209).
The issues of HIV/AIDS and rape have gone beyond the stage of moralizing about sex. 
Sometimes society makes excuses for the rapists by talking about indecent dressing and 
exposure of body parts or the fact that the raped girl was not a virgin. In some awkward 
situations, law enforcers have made cases for victims to provide evidence of struggle at the scene 
of rape or signs of forceful entry into the vagina. The definition of rape does not limit force to 
the physical. What makes a sexual activity to be termed rape is lack of consent. Once the lady 
says “No” to sexual advance and she is taken without her consent, it becomes rape. Little 
wonder some Africans feel insulted by the claim that a wife can accuse her husband of rape 
while still living under his roof and bearing his name. The humanist in FolukeOgunleye comes 
alive in her treatment of this sensitive issue. She succeeds in drawing attention to a painful 
subject which is assuming a pandemic position (if 25% of SA men admit to rape). The problem 
is equally becoming alarming in Nigeria if newspaper reports on crime pages are anything to go 
by. More worrisome still is the age of the victims. A study in Zaria, Nigeria, reveals that 16% of 
hospital patients treated for sexually transmitted infections were younger than five years old. 
(UNFPA)
With cultural beliefs and power inequity that pre-dispose the girl-child to rape and other 
forms of abuse, there is greater need to create awareness about this menace and to put in place 
structures that will make all citizens more responsible in providing greater care and protection 
for our girls. Once again, like Cartwright observes, “the humanist affective dramaturgy engages 
audiences’ emotions, senses, and capacities for empathy as well as their intellect” (1999). The 
need becomes rife as reports show that in war tom  parts of Africa, another known battle field is 
the body of the woman and female children as they are debased and sexually abused, as further 
proof of capture of their towns and villages. Examples abound from the Rwanda example as 
dramatized in the award-winning film, Hotel Rwanda.
Next we look at the aftermath of this rape; the play presents a short interlude where good 
fortune seemed to smile on Jabulile. She is summoned by the Vice Chancellor who in his office 
tells her: “I have heard so much about you, both from staff and students, all the reports I have 
about you are positive, best overall first year student, in addition to the government scholarship 
you are already enjoying the corporation is offering you an additional scholarship of twenty-five 
thousand Emalangeni, postgraduate scholarship, and a position as the university’s goodwill 
ambassador.” Suddenly, Jabulile appears to be able to bear her true name again; Joy. This joy 
however is short-lived and like the saying goes: ill-fortune does not rain but pours.
Before the audience gets over the euphoria of this good fortune, scene 18 jolts us back to 
reality with the opening stage direction; “Campus. Jabulile is sitting on one of the park benches. 
She looks weak and emaciated”. We smell trouble but we do not yet know how bad it is. But the 
Humanist in Foluke Ogunleye ensures that the breaking of this bad news takes place when the 
two dearest people in Jabulile’s life are on hand to bear some of her anguish. She eventually 
really was not alone. In fact, Jabulile herself attested to the need for this when she said, “it is 
good that both of you are here Father, I can tell both of you now and we can all comfort one
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another” (Scene 18, p. 56). One of the greatest defenses against life’s storms is having the 
cushioning effect of family and loved ones.
It is important to quickly point out the stigmatizing stance in the outlook of many who 
always narrow down the issue of HIV./AIDS to the moral issue of sleeping around. Contracting 
HIV or even Teenage- pregnancy is not always about morality or promiscuity. Sometimes it is 
about rape, sometimes it is about sexual naivety, sometime it is about exploitation and at other 
times it is about making a wrong choice. So again, bad things happen to good people. The 
important thing is not buck passing or fault finding, it is more humane for us to find a pro-active 
way of stopping the spread of the virus. Punch newspaper (Thursday, April 29, 2015, p. 58) 
reports that the battle against HIV in South Africa assumed a phenomenal height when the 
President, Jacob Zuma “signed a bill that will make persons tested positive for human immune 
deficiency virus to be marked in the genitals in a bid to control the spread of the virus in the 
country.” The writer reports that “the President explained that the step was taken to caution 
those who have uncontrollable sexual urge.” There are more serious issues begging for attention 
in the fight against HIV than giving HIV Positive persons tattoos on their genitals. How does a 
rape victim who does not suffer from “uncontrollable sexual urge” stop her assailant from 
infecting her with the virus? How can we get people like Jabulile’s Vice Chancellor to know that 
“even though the usual story given by HIV-positive ladies is that they were raped” (scene 19, 
p.58) some people in actual fact are innocent victims of HIV/AIDS? According to the earlier 
cited newspaper report, 280,000 people died of AIDS in 2010 and this constituted about 48% of 
all deaths among South Africans. The humanist in the playwright also protests the callousness of 
the system in its use and dump approach. Why is it so easy for the same Vice Chancellor who 
gave glowing testimonies about Jabulile to be so quick to nail her coffin on the altar of “people 
change?” Would a humanist who is the head of an institution hide under the cover of “policy 
cannot be changed” instead of taking a proactive stance in an unusual situation?
In scenes 20 and 21, between Dudu and her daughter Phindile, we see the climax of man’s 
inhumanity to man and the verdict of one day is for the thief... The painful bit though is that 
usually before the wicked gets the recompense of his evil deeds, many good people would have 
died needless deaths like sacrificial lambs. One of the boys that participated in the rape 
organized by Phindile for her cousin Jabulile was the one who later fed the courier of death with 
her own poison. Phindile also contracted the virus. She confessed that all the hatred was 
because Jabulile epitomized everything that was good, “how could she be going around as a 
virgin while I was as good as a public utility vehicle?” Jabulile suffered rape because she was 
chaste? Good is rewarded with evil? Another report says, “Among women aged 15-44 years, 
gender based violence accounts for more death and disability than the combined effects of 
cancer, malaria, traffic related injuries and war.”(WHO Report) So, gender based violence is a 
pandemic more disruptive to the lives of young females than the more talked about health 
concerns.
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Jabulile’s Humanistic Panacea for the Failure of the Society and its
Structures
Though set in Swaziland, Jabulile has a symbolic universal humanistic appeal. The play on a 
metaphoric scale dramatizes the fact that our world is inundated and beleaguered with 
aberrations of all sorts. These social dysfunctionalities afflict humanity and are inimical to the 
peaceful and harmonious existence of man When people suffer or have challenges in life, they 
explore all manners of options in search of solutions. They appeal to spiritualists, magicians and 
all kinds of metaphysicians. For instance a nation is bedeviled with violent insurgencies, 
kidnapping, insecurity, unemployment, cultism and all sorts. Rather than looking inward and 
seeking human solutions like Aristophanes’ Lysistrata and Ola Rotrni’s Harcourt White did for 
their people respectively, the nation declares days of national fasting and prayers. Majority of 
the problems in Nigeria, for instance, are man-caused.
Governments mismanage the country’s resources, thereby creating poverty in the land 
which ultimately results into conflicts of political interests, ethnic and intertribal animosity. The 
society becomes unsafe, divorced of meaningful growth. Nothing works, everything is upside 
down and the entire atmosphere is chaotic and in a state of higgledy-piggledy; all because man 
has failed to get it right. In such a situation, as Ogunleye allegorically represents in Jabulile, the 
panacea does not lie in spiritual intervention but in man. Though the story on the surface 
revolves round the untold hardship orphans are exposed to, we are presented with a society 
plagued with man’s inhumanity to man: child labour, exploitation, sex crime, vagrancy, greed 
and avarice. Jabulile seeing all these did not advocate that the community should be prayerfuj 
or invoke the spirit of the dead, rather she thought of practical things she could do to help the 
community. She sets up a skill acquisition centre, thereby recalling the youths off the street and 
equipping them with the ability to fend for themselves. This is thoroughly humanistic and this is 
a significant message of the play: O ye man, seek ye practical man-oriented solutions to the 
problems of the world.
Conclusion
So far we have examined Jabulile as a humanist drama which points out the ills of the society 
and the challenges faced by an orphan girl in Swaziland. As Omuero and Anyanwu submit “the 
function of art in the society is to leave it better than it is; the artists have the moral obligation 
to make a positive statement about society, not to rehash the wrongs as they are” (2014). In 
addition, Ogunleye also reminds us of Goodlad’s (1971) postulation that one principal feature 
of the play is to inform the audience about social structure and moral rules which are necessary 
for the smooth running of the society (2002:71). In telling of this story, the writer introduces 
some affirmative stance especially through the vocational centre project. At least, people like 
Zandile got their lives back and Jabulile’s life, though short, was meaningful. Thus, it was not so 
much about how long but how well. In the same vein, Omuero and Anyanwu (2014) point out 
that “art does not only exist for the mere titillation of the senses but rather it performs a 
functional role, its main objective being to affect man.” Foluke Ogunleye’s Jabulile presents to 
us the humanist in the author and also challenges our humanity by asking us to take a closer
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look at the lives of this character and see how much of Dudu is in every one of us and how much 
of Jabulile is in our moral framework whatever religion or faith we profess.
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