While a concept like “African Absurdism” has not been fully established nor appreciated, it does exist in light of earlier works of African writers.

Absurdism, itself, as a philosophical and literary movement, originates from existentialist thought, particularly the works of Albert Camus (e.g., The Myth of Sisyphus). It explores meaninglessness, irrationality, and the human struggle to find purpose in an indifferent or chaotic world.

In an African context, absurdist themes often emerge through:

• Colonial and Postcolonial Disillusionment—The clash between traditional African values and imposed Western structures often leads to paradoxical, surreal, or absurd realities.
• Political Instability and Corruption—Many African absurdist works depict authoritarian regimes, bureaucratic madness, and the sense of powerlessness in oppressive political systems.
• Social and Cultural Contradictions – The coexistence of ancient traditions and modernity, urban alienation, and the impact of war, poverty, and migration contribute to a deep sense of absurdity.

Hence, one can say that African Absurdism is a compelling fusion of existentialism, surrealism, and political satire, shaped by the continent’s unique historical and socio-political experiences. While it may not be a widely recognized movement like European Absurdism, it is a significant and recurring theme in African literature, theater, and film.

The African Absurdism as Used in Apostle Must Hear Of This

Absurdism is a significant recurring theme of this play. But it happens in the strangest way. Apostle Must Hear Of This was so weird that I had to quietly contemplate and think upon the inspiration before proceeding to write it down. I pictured the absurdism like that of Waiting for Godot by Samuel Beckett and infused it into the modern African setting—an experiment to test two theories that are two poles apart, Africanism and absurdism—and I do hope it turned out to be as great as it could be.

I would not like to spoil the fun before it begins. I will rather usher you into my new style of portraying the absurdity of the African man in light of my subjective ththeory:

The African Man becomes absurd when he fails to identify who he was, who he is, and who he is to be.”

We are all merely products of absurdity, blending cultures that never get to sync and adapting contrasting values when they appeal to our own individual desires.

Together, I weave, using my artistry of intricately short dialogues that paces the story, extreme wordplay, and adaptation of trends of our modern times, since, of course, we write for the world of today and for that which is to come.

Of all, from the reviews of scholars who have read this work, they find themselves in the dilemma of placing it in a category of literature. Is it a comedy? Is it a tragedy? Is it a satire? Just absurdist? Of all, did I do it on purpose?

I laughed at this comment. Everyone is entitled to an opinion, so this play can appear to you to be whatever you want it to be. As for me, for most of the time writing this play, I was in tears.

Hopefully, unlike Apostle, we don’t end up like that pig.