ULLI BEIER: TEACHINGS AND LESSONS FROM THE LIFE AND TIMES OF AKANJI ARABAGBABU (1)
BY: ORIMOLOYE, Ifeoluwa

Many a times, one would have wondered how literature came into an existence in Nigeria. Expectedly, many might trace ancient literature in Nigeria to the colonial era. Although, in those days, there seemed to be an insufficient awareness about our literary values which are in fact embedded in the folklores, traditional chants and verses, which is commonly referred to as ewi in Yoruba. In this discuss, I shall beam a light on a character whose name surfaces on the lips of our ‘literary ancestors’, but as it were, not much has been accorded to him as a hero of the literary movement in Nigeria. Meanwhile, it will be recalled that this same personality was involved in the translation of many valuable literary works, from our indigenous/native (Yoruba) language to English and German languages. If one would take Ulli’s works for granted, one would have to exempt the editing cum the translation of D.O. Fagunwa’s notable “ogboju ode” into “The forest of thousand demons” through the efforts of W. Soyinka, and another (literary work) through the efforts of Pa Adebayo Faleti, among others.
On Ulli’s arrival in the University College Ibadan, he made efforts to acquaint himself with the Yoruba culture, which was almost being taken for granted by the then emerging modern Yoruba Elites. According to the excerpt of a speech delivered at an event by Professor Wole Ogundele (see CentreforBlackCulture.org.ng for details), many of the Yoruba elites were at the time approaching the Yoruba culture from an outward and perhaps modern approach, but the Late ULLI BEIER went directly to the roots. He in fact gave a valid literary accent to our ‘traditional recitations’ and broadcasted them to the outside world, yet, making sure that it wasn’t compromised. Interestingly, it was recorded that Ulli Beier resided majorly within the vicinities of market places in such a way that he related mostly with the commoners, a symbol of humility which is valid in the Yoruba philosophy. It should be noted that Ulli Beier was so committed to the Nigerian Indigenous dream such that his Austrian wife, Susanne Wenger “created the shrine and the holy grove for the river goddess Osun in the Yoruba expressionist style.” He (Ulli) was a devoted follower of Sango.
It should be noted that stage performances formed the basis of literary works in Nigeria at that time, and quite remarkably, Ulli Beier was also one of those behind the success of many of the stage performances. He contributed in terms of technical and moral support to the survival of the Nigerian literature which many are enjoying at present. He was like a bridge between the indigenous artists and the international audience, thus, his role in translating most of the indigenous literary works into English language and then his launching of THE BLACK ORPHEUS which served as a journal of literature for emerging (indigenous) writers in the 60s and early 70s. Also, he seemed to be one of the very first who in the early stage recognized the potentials hidden in the sub-Saharan and as such keyed into the yet-to-be-explored world of literature in Nigeria. I presume that it would have been practically impossible to have an ‘academic-missionary’ key into the indigenous way of life like Ulli, if there is any, it couldn’t have been as much as Ulli Beier did.
In my assessment, the German scholar whose Yoruba peers fondly refers to as ‘Akanji’ has not been accorded a befitting respect or reference for his contributions for, according to Professor Ogundele, “…It maybe as a result of retrospection long after these events that Ulli said that one motivation for these activities was the desire to give something back to the society that was giving him so much...” Ulli Beier seemed to have had interest in and lived most of his life in the indigenous cities like Ibadan, Oshogbo, as well as Papua, New Guinea and promoted the Cultural/literary life of that environment.
I cannot give a description of him more than the description afforded by our ‘ancestors’ that have either met him in person or have worked with him, but I have a slight idea and picture of who he is, therefore, I shall not waste time in driving home my point, I shall limit myself to his contributions to the development of the indigenous literature and arts. Albeit, it is also pertinent to describe the Mbari-Mbayo Arts and Writers club.