The importance of reading and cultural storytelling remains far more vital in Nigeria than many might assume—and it’s a conversation worth having. But here's where it gets controversial: in an era dominated by digital content and visual entertainment, some argue that traditional reading habits are fading away. Yet, the truth is more nuanced, and as educator and author Tomi Falade reveals, reading and theatre culture still hold significant value in Nigerian society.
Tomi Falade, a renowned Nigerian writer and journalist, known for her work 'Olobun: Matriarch of Ondo, Mother of Legacy,' recently engaged audiences at Ikeja High School in Lagos during the 2025 Best of Nollywood (BON) awards book reading event. Her insights highlight the enduring power of storytelling, whether through books or theatre. Recently, during an interview, she reflected on the state of Nigeria’s reading culture and the theatre scene.
When asked about the narrative that Nigeria’s reading culture is dying, Falade acknowledged that it has indeed declined. However, she emphasizes that the decline isn’t because people are no longer seeking information or entertainment. Instead, it’s due to the multitude of alternative content now available—Netflix, social media, Nollywood movies, and a flood of digital content— which compete for individuals’ attention. In the past, books were often the primary means to escape reality or learn, but today, younger generations tend to consume content via their phones or eBooks. She points out that many enthusiasts, including herself, prefer digital formats, and even her own work like 'Olobun' is sought in eBook format for ease of access and convenience.
Falade proudly shares that despite digital distractions, her recent event at Ikeja High School demonstrated that Nigerian students still enjoy reading. The audience’s enthusiastic engagement with her reading and the actors’ appreciation of the story proves that the essence of reading as a form of entertainment and cultural connection persists. She contends that fifty years ago, the level of film, YouTube, and social media content now available would have likely led to even less reading, so the current situation isn’t entirely a decline but rather an evolution in how we consume stories.
Turning to theatre, Falade admits this art form faces greater challenges. Producing live stage performances involves significant logistical, financial, and technical hurdles—such as setting up costumes, effects, and coordinating actors—all of which demand substantial resources. The advent of CGI and special effects has made film and digital media more accessible and less capital-intensive, further contributing to theatre’s struggles. Yet, she notes that pockets of high-quality theatre still exist, with productions like Muyideen Oladapo’s recent stage opera featuring top actors such as Omowunmi Dada and Lateef Adedimeji. These efforts suggest that theatre isn’t destined for extinction but needs dedicated patrons and investors who understand its cultural importance.
She explains that stage plays are inherently more complex than films—they require putting together all elements from scratch each time a performance happens, which increases production costs and logistical efforts. Nonetheless, Falade believes that passionate supporters of the arts must continue investing in theatre to preserve and promote this cultural form. Her own work, 'Olobun,' was written specifically for stage, and she remains hopeful that it will be adapted for the theatre, though she recognizes that significant funding is necessary for realization.
Regarding her personal experience with the recognition from the BON awards, Falade shares her pride and gratitude. Seeing prominent figures like Oluremi Hamzat, the wife of Lagos State’s deputy governor, read her book—alongside established actors—was an emotional moment for her. It validated her work and demonstrated the power of stories to inspire and connect with audiences, especially when brought to life by talented voices.
Speaking further about 'Olobun,' Falade explains that the story centers on preserving Nigerian heritage, history, and culture. She undertook extensive research—visiting the Ondo State Cultural Center, consulting local sources, and blending facts with creative liberties—to ensure the narrative is authentic. She emphasizes that storytelling is essential for safeguarding our unique identities. She warns that if Nigeria doesn’t make conscious efforts to tell its own stories, foreign narratives will dominate, often misrepresenting cultural realities. For example, she highlights that the history of when the killing of twins was abolished predates Mary Slessor’s intervention, yet this fact remains largely unknown because Nigeria’s own stories aren’t being told or preserved. This loss of historical knowledge risks erasing important parts of our collective identity.
As for the future of 'Olobun' on stage, Falade hopes to see it adapted sometime after 2025. She’s exploring opportunities with directors and theater groups, including university drama departments, to bring her story to life. Funding and sponsorship remain challenges, but she remains optimistic that the play will eventually reach audiences on stage.
On a personal note, Falade describes herself as a writer driven by reality—her works inspired by actual events and everyday life. Although her books are relatively new, they’ve gained recognition beyond Nigerian borders, partly through online platforms like Amazon. She reveals her ongoing commitment to writing, with new projects underway, including a play she finished earlier this year, which she hopes to publish by 2026. Her passion is clear: she intends to continue creating content that reflects real experiences and stories.
Finally, she discusses the idea of engaging in community book tours in Ondo State. While it’s a compelling concept—especially given the roots of her stories—she admits that no concrete plans exist yet, but it’s a direction she’s open to exploring. Bringing her work back to the community not only honors her roots but also emphasizes the importance of grassroots cultural engagement.
So, despite the waves of change, the core of Nigerian storytelling—through books and theatre—remains alive, vibrant, and essential. Why do you think that is? Are we truly witnessing the decline of these arts, or is it simply evolution? Share your thoughts in the comments and join the conversation on preserving our cultural legacy.
