‘Teaching enriches the quality of ideas in my works’

By Uduma Kalu

A bilingual language, literary artist and a former Secretary, Association of Nigerian Authors (ANA), Oyo State Chapter, Clementina Kezie, treads the enviable path of creativity with ingenuity, assiduity and excellent gait. In this interview, Clementina goes on a retrospective journey to when her writing life began, when she clinched the ANA Drama Prize in 2020, and what the future holds for her. Here, she commits herself to the beauty of smooth presentation and flows with dazzling ease

You are a bilingual creative writer and artiste. Between English and French, which language are you more comfortable with and why?
I am bilingual because I studied French, but I remain more comfortable expressing myself in English. Between the two, English is the first language I learnt to speak and write, and being born and educated in Nigeria naturally made me an Anglophone person. French enriches my worldview, but English is the language in which my creative instincts first formed, so it flows more effortlessly for me.

What genre of fiction do you prefer to write on? What gives you inspiration?
I flow best as a playwright. Although I began my creative journey with poetry and have written poems and a few short stories, drama is where I feel most at home. My background as a performing artiste in my teenage years makes playwriting come naturally. My inspiration comes from lived experiences—human stories, everyday encounters, and the silent struggles happening around me.

How did you ‘perspire’ while writing your play, Broken Reed?
With Broken Reed, inspiration came first through the characters, then the storyline. The perspiration began when I locked myself away for a weekend to write the full script—first as a television script, then later adapting it into a radio script, which required collapsing some characters without losing the narrative essence. Eventually, I conceived the stage version, and another weekend of solitary writing brought it to life. It was staged in 2001 at the University of Ibadan Arts Theatre under the title Ravaged Innocence. Much later, in 2020, when Ebika Anthony encouraged me to submit it for the ANA Prize, I simply dusted it up. To my pleasant surprise, it won the ANA Drama Prize.

What themes have you explored since you started creative writing?
I write from what happens around me. Over the years, I have explored themes such as: sexual assault on minors, transactional sex among teenagers, family and systemic failure, childhood vulnerability, betrayal of legal authorities, and broader human experiences in challenging environments.

Clementina Kezie

Have you been influenced by any author? Which author and what did the influence lead to?
Yes, indeed. I have been influenced by Chinua Achebe, Wole Soyinka, Femi Osofisan, Buchi Emecheta, and many others. I am especially grateful to Pita Onaivi, who personally taught me to write for radio during my teenage years when he was my producer for a programme on Federal Radio Corporation of Nigeria (FRCN). As a young theatre performer, I had the privilege of working with the late Bassey Effiong, whose unpublished plays came alive on stage under his powerful direction. I also worked with Ben Tomoloju, the late Jide Ogungbade, and during my university days, the renowned playwright, Prof. Femi Osofisan. These experiences collectively shaped my artistic sensibilities and guided me toward becoming the playwright I am today.

Do you associate with other literary artists? How has the association been?
Absolutely. Most of my close friends are from the creative literary world. My interactions with both young and older artists have been deeply rewarding. There is always something new to learn, new perspectives to consider, and fresh energies to feed the creative spirit.

What is your place in the Association of Nigerian Authors (ANA)? Any regrets at all?
I am proudly a member of the Association of Nigerian Authors. After Broken Reed won the ANA Drama Prize, I was encouraged to serve as Secretary of Oyo State chapter, a role in which I gave my best and learned a great deal. I’ve served as Chairman of ANA Oyo State convention, twice Chairman of ANA Oyo/Yusuf Alli Literary Awareness Campaign—taking literary activities across the state. I have been a dependable adjudicator for several state-level literary competitions, and currently the Chief Judge of High School Prize for Literature run by Folk Heritage Multimedia.

I am passionate about grooming young writers, so these roles have been a delight. I have no regrets—only gratitude for the opportunities to serve.

What theme did you explore in Broken Reed, the play that won the ANA Drama Prize in 2020?
Broken Reed confronts the troubling reality of adult-male sexual assault on minors and the rising issue of transactional sex among teenagers, often rooted in inadequate parental care. It also examines juvenile decadence and the systemic failures that fuel such social problems. The play seeks to provoke awareness, empathy, and urgent societal response.

You are in the teaching service of the Federal Government, and as a matter of passion, you are a writer. Is teaching not causing a setback to your creative writing?
Teaching does two things for me. On one hand, it can limit my creative writing because it competes with the time I have for reflection and writing. On the other hand, my daily interactions with students and colleagues provide rich experiences, insights, and inspiration that feed into my writing. So, while it may reduce the quantity of writing, it enriches the quality of ideas.

In the journey of your creative writing, what does the future hold for you?
The future holds growth, experimentation, and the opportunity to explore new voices and stories. I see myself continuing to refine my craft, reach a wider audience, and create works that resonate and inspire. Teaching may shape my perspective, but my passion for storytelling will keep pushing me forward.