Nigerian Compass
Friday, 18 December 2009 00:00 Emmanuel Agozino


OSOGBO art school is known for its creative outputs that rouse the viewer’s curiousity. Its history is equally as interesting and phenomenal too. The story  of  its emergence in the early 1960s, as narrated by one of its first generation members, Chief Jimoh Buraimoh, links many families, cities, institutions and professions.


Buraimoh, one of the adventurous artisan-turned artists that emerged from the series of experimental art workshops to become a globally-recognised celebrities, says Osogbo’s current status as an international cultural destination is largely a result of its artworks.

 He noted that though the Osogbo art school originated serendipituously, it has turned out to be the real progenitors of modernism in Nigeria visual arts.

Explaining to Nigerian Compass, Buriamoh (Asoju Oba of Gbodofon, Osogbo) noted that, “the founders (of Osogbo art school) had no idea of the impact or the legacy they would leave behind.”

The Osogbo art workshop experiment originated form a series of creativity-development excercises in Ibadan, Ede and Osogbo dubbed Mbari Club by its initiator and co-ordinator, Ulli Beier, a German language teacher who was an extra-mural teacher in the then University College, Ibadan. Buraimoh said the Mbari derived its name from the Igbo language expression for open-air display house and can be stretched to mean “club.” But for their case the Mbari was adapted from the Yoruba language expression, ‘ti m ba ri yin lati Ibadan ma ba yo’ (If I see you at Ibadan, I would be happy). Hence the name ‘Mbari Mbayo’ Club.

He revealed that it was after a performance at the deceased dramatist Duro Ladipo’s centre in Ibadan that the German anthropologist and language teacher, Beier recognised his (Ladipo’s) immense creative talent and leadership trait. He therefore encouraged him to convert his popular recreation centre and bar located on the ground floor of his house to Mbari club house.

Buraimoh who worked as a stage designer and electrician with Ladipo informed that the changing of the popular bar to Mbari Mbayo paved the way for the  Ladipo’s  National Theater which opened in 1962.  From then onward, Mbari Club (later known as Mbari Mbayo Club) became an important art hub where emerging playwrights, actors, musicians and artists were discovered through regular workshops exhibitions and stage drama performances. The workshops were held in Ibadan (now capital of Oyo state) and in Ladipo’s countryhome in his native Osogbo, Osun state. Some of the discovered youngsters neither had any previous idea that they were artistic nor were aware that art was a  profession. Through the down-to-earth regime of exposure by Beier and his former partner Sussane Wenger, and the leadership style of Ladipo the young one discovered their talent and got their voice in the early years of post-Independence Nigeria.

 Buraimoh said Mbari used to be a regular rendezvous spot for artists and writers in university city of Ibadan. “It was not only artists and writers from Ibadan but those from all parts of Nigeria because, as you know, Ibadan being a university town and the second largest city in the country, it actually attracted arts people from all over the places,” he said.

 According to Buraimoh, Beier and Wenger were teaching staff of the University of  Ibadan then, and that brought in the campus community.

Beier and Wenger, Buraimoh informed, had arrived  Nigeria in the 1950’s and settled in Osogbo where, apart from their job in the university, they engaged in a lot of community services which involved the culture of the natives. According to him, Beier  pursued a career in contemporary art and drama while Wenger was drawn deeply to the Yoruba traditional religion and its mythlogy. She eventually became so involved in the Yoruba religious practice to the extent that  Beier ultimately divorced her. Hence Wenger got married to a traditional drummer, Lasisi while Beier later married another artist, Georgina Beier who actually conducted the second phase of the experimental art workshop in August 1964 at Osogbo. While the earlier workshops in Ibadan was named Mbari Club, the ones later staged in Osogbo, were named Mbari Mbayo Club.

Buraimoh deems Beier’s contributions to Nigerian and African modern arts of the  20th century, immense.

“He has made a tremendous impact both as a scholar and as a mentor or catalyst for developing contemporary artists and promoting movements in literature, drama and art. His vast accomplishments are difficult to summarise because he touched many areas in the most significant way. He was co-founder of the Mbari at Ibadan in 1961 and Mbari Mbayo in Osogbo in 1962 and he directed theater productions. Later he directed, Iwalewa Haus – an African art centre in Germany.  His anthologies include Art in Nigeria (1960), Contemporary Art in Africa (1968) and Twenty Years of Osogbo Art (1991).  In 1997, he directed the African and Third World Center at the University of Bayreuth in Germany – the first European establishment dedicated to promoting contemporary third world arts,” recounted Buraimoh.

 According to Buraimoh, who has exhibited in some of the most reputable art houses around the globe and executed highly note worthy public art commission, the first group of students that participated in the Mbari workshop conducted by Beier comprised the late Jacob  Afolabi, late Rufus Ogundele, Chief Muraina Oyelami, Yinka Adeyemi, Ademola Onibokuta (aka ‘Professor,’ a former director of Osun state Council for Arts and Culture), Adebisi Fabunmi, late Tijani Mayakiri Jire and Alake Buraimoh (nee Ajibola).  “As members of the Duro Ladipo National Theater, the group met the challenges very seriously,” he noted. 

 On  the second workshop that was conducted by Georgina Beier in 1964.  Buriamoh informed that well over 30 participants attended - comprising both members of the theater company and others. At the end of that exercise in Osogbo, four major artists: Chief Taiwo Olaniyi (aka Twins Seven Seven), Oyelami, Adebisi Fabunmi and himself emerged from the lot – all who are now internationally renowned studio artists were lads who were doing other things apart art. And none of them had a college study before attending the workshop.

 The veteran artist hinted that it was the perculiar form of orientation in the workshop that woke the hidden creative treasures in them.

 “The system of instruction adopted by Georgina was to make us more independent right from the beginning. We were neither shown any paper nor told what to do. Rather, we were asked to express what was in our minds. She provided us with brown paper, brushes and powder paints that as amateurs, we mixed with water.  At the end of the two-week workshop, Georgina and Beier sorted out the works they thought were good – based on each individual’s approach. The background of our theatrical training and performance experience greatly helped us. Our first expressions of visual art clearly represented interpretations of the music, festivals, choreography and other images of the theater.

“Georgina helped us to understand that we must each discover an individual style in order to make our art authentic. She instilled in us that notion that every one of us must search for his individuality. Twins Seven Seven was the first to develop his own style in pen-on-canvas. Muraina Oyelami used roller-on-spamboard, while Bisi utilized print making. Gradually, I found my style in bead art mosaic,” he appraised.
 With these discoveries a generation of artists that are destined to lure the world to Osogbo with their creativity was born and the city, now capital of Osun state, got an identity in the art world with its perculiar crop of magical, folksy painters. Asked the overall influence of the school on Osogbo as a city, Buraimoh, the only Osogbo native of the quartet said: “The total effect of the school was not immediately known. Most of the town’s people called us “Omo Adunni Olorisa” the children of Adunni, the pagan (Adunni Olorisa was the name most members of the city called Wenger). They believed anybody working with Beier, Ladipo and Susanne Wenger were pagans.  Later, when we started traveling overseas and were gaining international recognition, they started to have a change of mind and became more friendly to us. 

 More so,  due to our increased number of interational and local exhibitions, and the astute works of  Wenger, Osogbo began to attract more visitors; some western scholars came to study the culture of the land and stay for months. This led to the development of Osogbo as a cultural town, giving it an outstanding edge over the neighbouring towns within the south-western region of Nigeria. The arts also influenced politics in Osogbo. In recognition of  Lapido’s work, he was nominated to become the Councilor for Education in 1966.  Twins Seven Seven was elected to a similar post in 1985 and eventhough he is not from Osogbo, he was honoured with chieftaincy titles.  In 1968, Muraina Oyelami was installed as the Eesa of Iragbiji (his native town near Osogbo). Eesa is a high traditional chieftaincy title, second-in-command to the Oba. And over the last 30 years I have been offered chieftaincy titles in eight cities, all of which I rejected.  I later accepted the title of Asoju Oba of Gbodofon in Osogbo that is similar to the vice mayor position in America,” he recalled. Hence, art – modern art blended with traditional art – became interwoven in the culture of the land.

 Buraimoh who went ahead to study fine arts for a diploma of the Ahmadu Bello University, Zaria also noted that the the city equally began to boom, economically through the exportation of Osogbo art to other parts of the world as more and more younger ones took to the art profession as well as cultural tourism promotion. Researchers, and teeming academic thesis on Osogbo art also emerged in art schools and libraries.

 “Today whenever anybody has a desire to learn about Osogbo art, he or she will consult numerous publications. These publications are the documented works of the various artists who have emerged from Osogbo. After a long time of interaction between the indigenous artists of Osogbo with their outside counterparts and foreign friends and visitors, a characteristic perspective of Osogbo art with better understanding has developed. This development in itself has created an opportunity for both the indigenous artists and their foreign counterparts. It has opened a wide window on Osogbo and individual artists. It is to the extent that countless exhibitions have presented the works of artists from Osogbo to a larger world. The exhibitions have developed such a strong relationship to this art and established it as a formidable contemporary African art movement. Significantly, different forms of artworks from different generations of Osogbo art abound in many countries and cities of Europe and America, from London to New York, Baltimore, Washington D. C., Atlanta, North Carolina, Germany, Italy and other places. Many of the artworks have become properties of foreign states and dignitaries. They are the products of cultural exportation from Osogbo. And especially, indelible cultural landmarks for the various artists,” reasoned Buraimoh.

Throwing more light on the Osogbo school of art Buraimoh sort to establish Beier’s and Wenger’s legacies in their individual compartments. “ Osogbo art school is the brainchild of  Beier while the Sacred Art Movement is the manifestation of the traditional perception and devotion of Susanne Wenger.  While the Osogbo art school produced various artists in Osogbo based on contemporary arts, the Sacred Art Movement was a group of traditional artists with strong belief in the traditional deities and worship. They have used their religious impetus and authority to fashion out artworks related to different Yoruba deities thereby enhancing the values of traditional Yoruba religion. They have equally used their works to beautify and honour the gods and goddesses. This trait is particularly vivid in the production of gigantic monumental sculptures and structures used in the protection of the Osun-Osogbo Sacred Grove that would have been deforested and desecrated by the religious fanatics in the 1950s and 1960s. However, one important factor is the point that both Ulli Beier and Susanne Wenger have contributed significantly to the growth of art in Osogbo.  They have equally promoted Osogbo arts to the level of acceptance all over the world. It is equally interesting that members of these two groups have metamorphosed into reputable and internationally respected artists who often have relationships with one other. It is a common cultural course in the service of Osogbo land.”

In furtherance of the legacies of Beier and Wenger, members of the art buzz they have created are equally expanding the business and professional frontiers of their field. Buraimoh who runs a remarkablly busy big art studio in the town as well as a chain of successful businesses including the Heritage Hotels, observes: “It is interesting to note that the Osogbo school of art is the foundation of art in Osogbo and beyond. Its influence has gone beyond Osogbo because the first generation of  artists or pioneer students of the school have established in many spheres. In Osogbo it is a common knowledge that galleries exist in almost every street. I, Jimoh Buraimoh, am almost in every part of the town. The galleries are the focus of attention and tourists’ destinations. Visitors and lovers of art troop to to Osogbo to see and patronise the displays in the galleries and other cultural centres. The galleries belong to both the pioneers and younger artists in Osogbo. This current effort has led to the establishment of many artists’ organisations such as Coalition of Professional Artists of Osogbo COPA, Artists Co-operative and many others.

This coalition of artists has gone a step further by establishing an Artists Village. Situated at the buffer zone of Osun-Osogbo Sacred Grove. With the permission of the National Commission for Museums and Monuments, the village when completed will have  such facilities as a conference room, central gallery for artists’ works, huts for different traditional crafts and indigenous industries like batik making, sculpture, black soap making, gold and silver smiting, blacksmiting among others. The foundation laying of the project was done in August 2006. This is another way of standardising the Osogbo art as well. It is also a way of promoting younger generation of artists,” he said.

He added that the Osun-Osogbo Sacred Grove which was declred a World Heritage Site in July 2005 is very important to the growth and development of art in Osogbo. “The listing of the Grove has conferred an international status on the site, thereby, once again placing Osogbo on the world map. This has also increased tremendously, the patronage of art in Osogbo. It has refocused the direction and conception of the artists as well as elevated their standards in content and context. The Osun-Osogbo Grove is the venue of the yearly, Osun Osogbo Festival.  A unique festival among the people of Osogbo, it is essentially a celebration of the founding and establishment of the Osogbo kingdom. It is equally a renewal of the spiritual bond between the spiritual community in the sacred forest and the ancestral fathers of Osogbo. This festival has greatly influenced the socio-cultural set up of Osogbo as well as contributed positively to the economic activities of all strata of the people.

The Osun Grove is remarkable the only Grove of its size and dimension measuring about 75 hectares of rainforest vegetation in the whole of South-Western Nigeria where traditional Yoruba religion has been kept alive despite interventions from Western civilization. It is a fusion of culture and nature,” he explained.

The Osogbo art school has also rubbed off visibly in the researches and curricullum of neigbouring academic institutions even as it was established as a non-formal institution. It is also magneting other notable government and non-governmental institutions. Buraimoh informed that recently the Ladoke Akintola University (LAUTECH), Ogbomoso, Oyo state “established its medical school close to the Grove. The import of this is that the Grove and the LAUTECH are now neighbours. If this situation is allowed to grow into a symbiotic relationship between the duo, we may soon have an environment where the youths of the institution will utilize the abundant cultural resources as well as natural heritage of the Grove. Because of the strategic location of Osogbo as the cultural center of the south-west and Yoruba land, another Federal Government cultural organization, the National Gallery of Art  is developing a facility at Osogbo. Its existence will complement the efforts of the National Commission for Museums and Monuments as well as open up more opportunities for artists to develop and exhibit their talents through their works while also boosting the land’s culture and tourism economy,” he reasoned.

The lessons in Fagunwa's works

BY AKINTAYO ABODUNRIN

December 19, 2009 08:55PMT
   

No one anticipated Bisi Ogunsina's move. The professor of Linguistics at the University of Ado Ekiti, Ekiti State, who delivered the 3rd Daniel Olorunfemi Fagunwa memorial lecture on Monday, December 7, gave no inkling he would eventually adopt Yoruba until well into the lecture.

Speaking on the topic, ‘Yoruba Philosophy in the Novels of D. O. Fagunwa: Implication for Indigenous Language Teaching in Nigeria' at the Afe Babalola hall of the University of Lagos, Ogunsina chose not to toe the path of his predecessors.

Ayo Bamgbose and Olaoye Abioye (translator of Fagunwa's five novels into French) who delivered the first and second memorial lectures in 2007 and 2008 did so in English. Ogunsina however underscored the resolve of the D.O. Fagunwa Foundation's commitment to promote speaking in the mother tongue with his decision. A rousing applause followed his move.

Immortal works

Fagunwa, according to Ogunsina, was a compassionate and altruistic man who has placed the Yoruba on the world map. After a detailed explanation of philosophy and its components, the guest lecturer held that elements that constitute philosophy-metaphysics, ethics and epistemology, are present in Fagunwa's novels.

Ogunsina added that all of the late author's works confirm that he is a gifted, exceptional writer. "He is one of those that have written immortal works in Yoruba, he is a pride to the Yoruba." The lecturer also noted that quest, mystery and other elements that human beings encounter in their journey through life are evident in works like ‘Ogboju Ode Ninu Igbo Irunmole', ‘Ireke Onibudo', ‘Adiitu Olodumare' and the other works.

"There are immortal lessons in his works," Ogunsina said. "Fagunwa was a master. The South West states should give him a merit award for his invaluable contributions," he added. Ogunsina further likened the late headmaster of Saint Andrews Primary School, Oyo to Imodoye, the wise character in his ‘Ogboju Ode Ninu Igbo Irunmole.' "Fagunwa gan ni Imodoye, ohun loye ka fi je oye Imodoye of Yoruba land (Fagunwa is really Imodoye, he should be awarded the title of Imodoye of Yoruba land), the linguist noted in Yoruba, adding that, "Language becomes a vivid, descriptive tool in his hand."

He further affirmed, "Fagunwa's works are a challenge to every Yoruba. He used Yoruba when English was in vogue and showed that no language is superior. Fagunwa is to Yoruba what John Spencer is to English novels. It is time to write in indigenous languages so that our language doesn't become extinct. Knowledge abounds in Africa, if we use it well, we will have enough and develop from generation to generation," Ogunsina concluded to a standing ovation.

The mother tongue

Other speakers had reinforced the importance of promoting indigenous languages before the lecture. Ibukunade Sijuwola, Fagunwa's oldest child and chair of the Fagunwa Foundation disclosed that, "The foundation was, and is still keen on organising a stakeholder's conference on the use of the mother tongue as a medium of teaching in all our nursery schools. The National Policy on Education has already stipulated that the mother tongue be used in the nursery schools but no school is implementing this directive.

"English is still used in all schools in the South West Nigeria. Our thinking is that no matter how much we yearn or wish that our children should speak, understand and appreciate our language, there will be no progress unless the state government makes it compulsory for the usage of the mother tongue in nursery schools."

She thanked Chams Plc, sponsor of a theatre series involving the adaptation of Fagunwa's novels for the stage and the University of Lagos for creating space in the institution's main library to accommodate materials on the author.

Lagos State Governor, Babatunde Raji Fashola, represented by Adetunji Adebiyi, renewed the call for the use of indigenous languages as a medium of speech and instruction. The governor referenced Ngugi's decision to write in his native Gikuyu and former Minister of Education, Aliyu Babatunde Fafunwa's experiment at Ife in the 70s when students were taught in Yoruba to underscore the advantage of using the mother tongue.

He said of Fagunwa: "He was first to write in Yoruba language and blazed the trail for others to follow. This is genius." He added, "Maybe if he had lived longer, we would have been celebrating another Nobel Laureate. His works preaches love and courage. Issues that are timeless and universal."

Retired Army general, Alani Akinrinade also urged the gathering to learn from Fagunwa by promoting "our language and culture."

Former Governor of Lagos State, Bola Ahmed Tinubu who was represented by Dele Alake noted, "We mustn't forget our roots." He prayed that Fagunwa's name will not disappear in Nigeria, Africa and the world. "Tinubu said to urge you in Fagunwa's name that we should go back to the roots, to speak Yoruba to our children so they won't get lost," Alake who gave a cheque of N500, 000 on behalf of his principal to support the foundation, added.

Playwright Akinwumi Isola, Duro Oni, Ropo Sekoni, poet Odia Ofeimun, cahir of the Fagunwa Foundation, Olu Falomo, Vice Chancellor of the University of Lagos, Tolu Odugbemi and other eminent Nigerians were at the lecture.

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from Guardian Newspaper
http://www.ngrguardiannews.com/arts/article03//indexn3_html?pdate=250409&ptitle=Waist%20Bead%20Among%20The%20Yoruba&cpdate=250409



Waist Bead Among The Yoruba
By Alloysius Nduka Duru

THE usage of beads especially waist bead in Nigeria is wide spread across the various nationalities that make up the nation. There are similarities and peculiarities in their usage.

However, the Yorubas developed the most varying and peculiar uses for the waist beads. The Yorubas have developed a culture of bead usage that cuts across both material and spiritual aspects of the life of the people. In addition, they have also the capacity to produce the beads for varying purposes ranging from royalty, body adornment, deification and decoration.

The Yorubas are found in the South Western geo-political delineation of present day Nigeria. They are a vibrant and social people that accentuate their ways of life in their day-to-day activities.

Beads are usually small round piece of glass, wood, metal or nut, pierced for stringing. They are either used for adornment such as the waist, neck or ankle beads or as decorative ornament in art works or even for royalty purposes.

The art of beading is serial in process and serrated in composition. It has a step by step or one by one approach in stringing when traded together, beads stands for unity, togetherness and solidarity.

Beads of the waist is said to posses the power to attract and evoke deep emotional responses, they are a sign of success and affluence as well as spiritual well being.

The Origin of the Nigerian beads is still speculative due to its fragility portability and popularity.

Beads have been traded and used since time immemorial. However, the earliest known African beads is traced to Libya and Sudan. In Nigeria the Nok terracottes and Igbo Ukwu arts display some element of the usage of beads in those societies as early as 500BC, however there is no concrete statement of origin to the beads.

A common usage of the item is for adornment especially on the waist. There is however varying purpose for which people adorn the waist beads.

The common users of the waist beads are mostly the women folk, only in exceptional theatrical perform as will a man adorn a waist bead to symbolize feminism. The waist bead is synonymous with feminism.

The Yorubas have esteemed usage attached to the waist beads. They refer to the waist bead as Ileke, "Lagidigba" the term lagidigba means something big, thick or massive. The Lagidigba is made of palm nut shells string together, while the bebe is made of glass.

The Yorubas have a belief that the waist beads posses some erotic appeal, they have the power to provoke desire or deep emotional response on the opposite sex.

Waist beads in Yoruba are also used for birth control, the beads are laced with charms and worn by the women to prevent conception.

Beads are a precious ornaments to the Yorubas, hence when adorned by a women, accentuates her feminism or beauty. Beads also helps to portray the chastity of a maiden or women sensuality. Parent show their love for their girl child through gifts of waist beads that are colourful and expensive.

The lagidigba or palm nut shell beads is used for fecundity purposes. The nuts signify multiple births as they are in clusters, thus one can infer the high incidence of multiple births in Yoruba land to the usage of the lagidigba bead.

Brides seduce their spouses with the beads they adorn, some women are said to lace their beads with charm to make them irresistible to the male folks. The Yoruba's can easily comment on a women's moral standing in those days by interpretation of the movement of the waist bead adorned by a women. The way she moves her buttocks can depict her morals either seductive or reserve.

The Yorubas have a popular saying that "it is the beads that makes the buttocks to shake".

Other users of the waist beads in Yoruba land are the Orisas or devotes of water deities and other priestesses, they adorn the waist beads for protection against spiritual attacks as well as part of their dress regalia.

The waist bead is also used to adorn the Ere-Ibeji figurine on the death of a twin, there is the belief that when treated well the spirit of the spirit of the dead twin will not harm the living twin and will return to the family to stay.

Waist beads are also adorned and laced with charms to ward away the Abiku spirit (mermaid Spirit) from a woman.

Because of the regard on the waist beads, some erotic songs have been composed and sang by the Yorubas based on its usages.

A Song Says

"She goes up

She goes down

Like buttocks beads.

Another song says;

Don't flirt with me

Don't flirt with me as you do with your husband.

Don't wriggle your waist beads at me

Don't lock the door on me and throw

Away the key.

Apart from the Yorubas, other groups in Nigeria also have similar usages of the waist beads in their culture the Ogonis in Rivers State refer to beads as Loo, its uses range from covering the private parts of a women to adornment as a sign of affluence. The beads is a measure of value to the Ogonis and are also worn by bride as part of her bridal rites. The Igbos called it Mgbaji, also for adornment and a sign of social status.

The Hausas refer to it as Jigida. To the Kalabaris, the waist bead has the potency of transforming an ugly woman into a beautiful maiden once it is worn. The Ibibios see it as Nkwa-Isin, they adorn it on a female baby to help give her a good waist line, as she grows, beads of her size are adorned on her.

Priestesses of deities also wear the beads that are always colourful as part of their regalia. They also use the waist beads laced with charm s for birth control. The maiden dances (Aban) also wear the beads doing dance to give a graceful hip movement when they dance.

Waist bead in today's fashion is relegated, ladies have a preference for western costumes such as belts, chains, g-strings to the waist beads. The culture of waist bead is going down rapidly to extinction. Religion and other spiritual reasons have been adduced for the neglect, however it must be pointed out that waist bead usage as practiced in the past is an essential element of African body adornment that is harmless and meaningful a pride and precious item which should be encourage to day.

    * Nduka Duru discussed this topic with National Museum Study Group, Port Harcourt recently

From Nigerian Compass Newspaper 
http://www.compassnews.net/news/index.php?option=com_content&view=article&id=16145:eyo-lagos-stands-still-for-adamu-orisa-play&catid=48:saturdaynews&Itemid=189



THE origin of the Adamu-Orisa festival could be traced to Badagry, where performance according to history was then restricted to market days. But traders who had visited Lagos for commerce brought along with them the festival which they staged elaborately to entertain the locals at Oke-Ita, later identified as the Lagoon end of Glover Road, Ikoyi. But as a result of interest and the number of days it was taking to get to the venue, the then Governor-General of Lagos requested that the carnival be brought to Lagos Island along with the thrill. Acting in line with the governor’s request, the first Eyo play on the Island was staged on February 20, 1854 in honour of the late Oba Akitoye of Lagos. That year’s Eyo would pass as the first reality play in history, staged consecutively without any benefit of rehearsal.

The Eyo, also called Adamu-Orisa play, derived its name from the families of Orisa Ogunran and Orisa Elegba Opopo, from the Benin Kingdom, who were brought to Lagos by Chief Ologun-Agan and Ologun Igbesodi during the reign of Oba Ado, over 350 years ago. They have been credited with being the first settlers on the Island.

Unlike many other plays, nobody can predict the number of times the festival would be held in any particular year, since it is usually staged as part of rites of passage in honour of a departed King or chief or an illustrious indigene.

Corroborating this assertion, the chairman, Organising Committee for this year's Adamu Orisa festival, Mr. Disu Holloway, disclosed that, Adamu Orisa is held in memory of an outstanding member of the Lagos community, who has contributed in no small measure to the socio-economy and political development of the state.

Holloway also disclosed that this year's event is being sponsored by Globacom, with active involvement of the Lagos State Government, adding that today's programme would be different from the past performances because it will be more spectator-friendly, safe and entertaining.

So far, the highest number of plays was organised in 1906. That year, the festival was held five times on May 15; August11; September 01; September 22; and December 15, in honour of Ajayi Obanikoro; Ogabi Eletu-Odibo; Iya Ojora, Princess Ibiyeye; Fasheke Olukolu and Iya Oshun respectively.

The festival was held four times in 1909 to honour Oluko Olikoyi on February 20; Aromire Aiyedun on June 5; Ojo Iniyun Kehinde on August 7; and Aromire Adesina on August 21 of the same year in that order.“It was organised three times in 1899, 1903, 1904, 1907, and two times in 1895, 1898, 1912, 1917, 1920, 1957, 1987, 2000 and 2002. The rest of the plays were held once each year. Most remarkable was the event of 1944, which was held in honour of the visit of Queen Victoria of England to Lagos. “Unlike past shows, today's play will hold at the old Race Course, Tafawa Balewa Square as part of effort to reposition it as a major tourism attraction like the Argungu Fishing Festival in Kebbi State. The customs will not be too different however but the behavioural aspect may change.“The regalia are as super as ever: glistening white outfit, a decorated staff (Opambata) which the artistes manipulate at whims crowned with an unusual royal gait. The Eyo usually wears a distinctive headgear (aga) created quite often from materials usually found among the elites. The dramatist personae often put on a face mask made with transparent lace material for visibility.“The Eyo festival owes a root in the oral tradition of reincarnation among the Yorubas, who believe quite passionately that spirits of departed loved ones live on and ready to strike when necessary to protect the living. “The Eyo symbolizes visit of that spirit hence the usual greeting, “Agogoro Eyo (what a tall and imposing Eyo)” when sighted. In appreciation of such acclamation, the Eyo would usually respond in turn with the saying, “Mo yo fun e, mo yo fun ra mi (I rejoice with you for seeing this day and rejoice with myself)” “History, the families of Ologun-Agan and Ologun Igbesodi have sole right over performance of the Adamu Orisa play. However, actual performance can only be announced by the Akinsiku of Lagos, who is the traditional head of the Adimu cult, and other Eyo groups.

Holloway noted that take-off point for the festival will be Isale-Eko, before moving to the Tafawa Balewa Square (TBS) for the grand parade between 11am to 5pm. He noted that the change of the venue of the grand parade from Idumota to TBS is to increase the number of spectators who will be more comfortable apart from being able to see more Eyo groups while relaxing with family and friends in a safe environment.

Furthermore, Mr. Disu said that adequate arrangements have been made for free transportation (to-fro) for those interested in participating in the festival with the provision of 300 BRT Buses which will depart from designated Bus stops all over the state from 6.30am-2.30pm. Also, arrangements have been made with owners of car parks of the inner and outer Marina, who have permitted the use of their car parks by those interested in bringing their own cars to the venue.

In addition, adequate security arrangements have also been made for the protection and lives and properties, especially at the venue of the event and designated car parks, in and around the TBS from the evening of Tuesday, April 28 to the midnight of Saturday, April 29, 2009.

The organising Committee Chairman, however warned that it is forbidding to take photographs of six Eyo Masquarade groups, namely: ADIMU, ALAKETE PUPA, ONIKO, OLOGEDE and AGERE, adding that other forbidden behaviours near the Eyo masquerade include wearing of slippers, smoking of cigarettes or pipe, riding of bicycles and motorbikes and wearing of head-gear except if it is for a religious purpose.

Also speaking on the issue, the Oba of Lagos, Alaiyeluwa Riliwanu Akiolu I eulogises the Adamu orisa festival as one of the most cherished tradition of the people of Lagos State and that the festival, when held, usually bring good tidings and blessing to the community.

The Oba of Lagos stated further that this festival will be reinvigorated and modernised so as to use it to show-case the rich cultural heritage of the people of Lagos State to the entire world. He therefore called on all stakeholders to ensure that the festival is free of violence or any criminal activities.

Eyo Groups“Notable groups saddled with the performance of the play includes Awe Idimu, Olori Eyo, Onilaba, Orisha Oniko, Orisa Ologede and Agere. All other groups must pay obeisance to these senior groups most especially during performance of the play. “Preparation“Usually those seeking performance of the play in honour of any grand development must consult the Awe Idimu- Ologun Agan and Ologun Igbesodi families – who would direct the request to the ruling Oba of Lagos, Oba Rilwan Akiolu in this case. The role of the Oba is to determine after due consultation with his chiefs if the person to be honoured with the play has contributed to the progress and development of Lagos State. “He would in turn redirect the request after consultation and confirmation to the Awe Idimu who own the play. Usually the family requesting the performance would be directed to the Awe Idimu with the Oba’s “Suku”, his official staff, and two white cap chiefs.“Elders of the family are expected to issue the “Ikaro”- articles and cash – required for the ceremony. Once the condition is met, date for the performance will be announced by the Awe after the consent of the Ifa Oracle and that of the state government. Once this is achieved, the Awe Idimu would then dispatch messages to senior groups in the Eyo family for grand preparation to stage the flamboyant play. “Rules“Unlike many other festivals, the Adamu-Orisha play is played according to rules which must be observed by those taking part in the play and members of the viewing public. “Basically, all members of the public are bound to respect the Eyo players. Consequently, they are expected to remove their caps or headgear, fold their umbrella, put away pipes or cigarettes, alight from their bicycles etc and move to the side on sighting the Eyo masquerade.“Eyo players are expected to elevate the occasion through their dresses and manners. Consequently, they are not expected to expose any part of their bodies when on the streets. They must not unmask their face, neither are they permitted to smoke or take any hard drug during performance. Besides, they are not expected to drink any intoxicating liquor, carry or have in their possession lethal weapons like gun, cutlasses, knives, matchets, axes, spear, horse-whip, cudgel or anything that is capable of inflicting injury on spectators. The 'masquerade' is solely entitled to wear his regalia, because by tradition, it can not be transfered.

Most importantly, the Eyo player is bound by rules not to molest or beat up any member of the public for wearing and retaining any type of turban worn by chiefs and religious leaders, or keeping his cap on when he is a drummer. “They either play by the rules or risk being arrested and in the process stopped from continuing with the performance of the play.“Every group leader shall at all times carry with him one copy of certificate of compliance duly signed by Secretary of the Eyo Adimu. Any Eyo without performance spam shall not be allowed to appear in public places.“By all these conditions, residents of Lagos and indeed visitors would today be in for a grand public spectacle, unlike previous performances that were restricted to Nnamdi Azikiwe and surrounding streets. The Eyo Festival was last held on November 21, 2002 to honour the late Chief GBA Coker. It was witnessed by former President, Chief Olusegun Obasanjo.

From Vanguard Newspaper  http://www.vanguardngr.com/content/view/34329/169/
Written by Leke Adeseri & Olasunkanmi Akoni     





Today, Lagos residents, local and foreign visitors are expected to troop out in their large numbers to watch and enjoy one of the prestigious and cultural masterpieces in display, the Eyo festival, otherwise known as Adamu-Orisha masquerades.

Eyo as it is popularly known, is perhaps the most popular social masquerade in Lagos. It was brought into Lagos in the year 1750 by Ejilu and Malaki the two male cousins to Olori Olugbani, the wife of Oba Ado and mother of Erelu Kuti of Lagos.

‘Agogoro Eyooo” (meaning what a tall an imposing Eyo),“Mo yo fun e, mo yo funra mi”(I, Eyoo Masquerades, rejoice with you for seeing this day and I rejoice with myself), is a statement that normally ring out loud all over Lagos, during the Eyo festival masquerade festival.

Over 1000 Eyo masquerades in their white regalia with different hats made of various colours from the five groups, Adamu Orisa, Laba Ekun, Oniko, Ologede and Agere will partake in the festival organized in fond memory of the first Minister of Information, late Chief T.O.Sobowale Benson who died last year February. Today’s festival which has been repackaged as tourism attraction will take place at the famous Tafawa Balewa Square (TBS) on

Lagos Island amidst tight security to ensure safty of lives and property.
Going down memory lane, the first performance of the Adamu-Orisha parade on Lagos Island took place on September 11th, 1852 and it was staged in memory of late Chief Dosunmun Ashogbon while the last Eyo masquerade parade in the city was on August 2nd, 2003, in memory of late Oba Adeyinka Oyekan 2, the Oba of Lagos between who lived between 1965 and 2003.

The Eyo festival, by tradition, is staged only in memory of an illustrious deceased person, hence, the day of staging Adamu-Orisha play is significant for the great occasion and for the relations and friends of the deceased person to be honoured.

The origin of Adamun-Orisha play according to findings  showed that the genesis of Eyo masquerade public performance must be rooted in legend.

It was also gathered that origin of Eyo masquerade could be traced to two areas in the South-west part of the country. While people of  Iperu, Ogun State,  claim that  Eyo masquerade originated from their town, the people Apa coastal area of  Badagry also claimed that the masquerade originated from Badagry where Eyo masquerade play used to take place on  market days in the olden days. The Badagry origin seems more agreeable.

However, Eyo masquerade parade began on Lagos Island by traders from Badagry long time ago. The point of performance then was known as Oke-Ita which was later found to be the lagoon end of Glover Road, Ikoyi, Lagos. This was the site where successive kings in Lagos and their chiefs used to visit to watch the Adamun-Orisha play in those days.

Further research into origin of Adamun-Orisha play in Lagos revealed that about the middle of 19th century, the then British Governor could not tolerate long absence of those who matter in the running of affairs of Lagos colony who are fond of going for days from Lagos Island to watch Eyo parade in Ikoyi that was by then could take about three days journey. The British Governor complained that absence of concerned officials was serious enough to disrupt the affairs of Lagos colony. Thus, he ordered that the idea of going to Ikoyi should be stopped.

The British Governor’s directive prompted the elders, chiefs and prominent indigenes of Lagos to invite the maskers of Adamun-Orisha from Ikoyi to relocate to Lagos Island and the maskers agreed to the suggestion. Thereafter, they settled on Lagos Island and became part of the people till date. Hence, the first performance of Adamun-Orisha on Lagos Island took place on February 20th, 1854 and it was staged in memory of late Oba Akitoye of Lagos.

On that day on Lagos Island, the general public of Lagos saw what they never saw before and witnessed the performance with an exceedingly tumultuous turnout which had remained a characteristic of Eyo masquerade parade till today.

Eyo masquerade parade used to last all day long and it is staged as the funeral obsequies of a King or Chief, and in honour and memory of a deceased eminent Lagosian, who had contributed to the progress and development of Lagos during his or her life time. The festival is only staged for this reason.

Eyo masquerade speaks a ventriloqual voice, suggesting that he was not human and also that he represents the spirit of a departed person. The Eyo symbolizes the arrival on earth of the spirit; in view of this believe, when one meet an Eyo and greet him with the words :‘Agogoro Eyo’ , he is expected to respond thus: Mo yo fun e, mo yo funra mi

On the order of events, a full week before the festival (always a Saturday), the ‘senior’ eyo group, the Adimu (identified by a black broad-rimmed hat), goes public with a staff, when this happens it means the event would take place on the following Saturday. Each of the four other ‘important’ ones — Laba (Red), Oniko (yellow), Ologede (Green), Agere (Purple) — in this very order take their turns from Monday to Thursday.

There are also revered special outings like that led by the Olori Omobas, the leader of the Princes currently Prince Michael Omoyele Ajose, a Prince of the royal house of Oba Ologun-kutereof Lagos (1749-1775), who himself was a direct descendant of King Ado, the founder of Lagos dynasty (1630-1669).
Prince Ajose is from Igaa Suenu, to which the ancestral home of the current Lagos State governor, Raji Fashola could be traced.

Eyo Festival is unique to Lagos area, and it is widely believed that Eyo is the forerunner of the modern day carnival in Brazil. On Eyo Day, the main highway in the heart of the city (from the end of Carter Bridge to Tinubu Square) is closed to traffic, allowing for procession from Idumota to Iga Idunganran.

Here, the participants all pay homage to the Oba of Lagos. Eyo festival takes place whenever occasion and tradition demand, but it is usually held as the final burial rites for a highly regarded chief. Among the Yoruba, the indigenous religions have largely given way to Christianity and Islam, but the old festivals are still observed. The traditional leaders of the Yoruba are the Obas, who live in palaces and used to govern along with a council of ministers.

The Obas’ position is now mainly honorary, and their chief role is during the observance of the festivals.
Yoruba festivals honour their pantheon of gods and mark the installation of a new Oba. The Engungun (“en-GOON-gun”) festival, which honours the ancestors, lasts 24 days.

 Each day, a different Engungun in the person of a masked dancer dances through the town, possessed by one of the ancestors. On the last day, a priest goes to the shrine of the ancestors and sacrifices animals, pouring the blood on the shrine. The sacrifices are collected, and they become the food for the feast that follows.

However, ahead of today’s Eyo Festival in Lagos, Governor Babatunde Fashola has assured residents and visitors alike of adequate security of lives and property during and after the festival, just as he warned that any Eyo masquerade found to be of mis-behaviour would be arrested and prosecuted. Earlier, Oba of Lagos, Oba Rilwanu Akiolu I, appealed to all participants on the need to be peaceful in their conduct as unwholesome behaviour would not be tolerated.

The state government also announced the suspension of commercial buses and commercial motorcyclists,” Okada riders” from plying some designated routes in and around the venue in other to ensure smooth and traffic free festival..

Some of the major routes where movement will be restricted include: Third Mainland Bridge, Carter Bridge and Eko Bridge, some part of inner Marina among others.

Fashola, in company of the state Commissioner for Home Affairs and Culture, Mr. Babatunde Balogun, Special Adviser on Transportation to governor, Mr. Kayode Opeifa, Managing Director of Lagos Metropolitan Area Transport Authority, (LAMATA) Dr. Dayo Mobereola and organizing chairman of the festival, Mr Disu Holloway, stated this at a world press conference on the activities and measures put in place for the event, earlier held in Alausa, State House, Ikeja.

The Eyo Festival which is scheduled to take place with a grand parade of the five major Eyo groups at Tafawa Balewa Square (TBS), Lagos Island will commence at 6.00 am and end at 6.30 pm same day. The festival is being held in honour of late Otunba, Theophilus Owolabi Benson who died on February 13th, 2008.

Fashola who stressed that today’s festival is intended to be a little different from past performances, strongly warned that Eyo members, which are estimated to be over 1000, “who do not abide by the rules of performance will be guests of the Police Commissioner”.

His words: “The Eyo Festival day is a joyous day of gaiety and splendour during which Lagos Island is filled with the exuberance of young Eyo masquerades and prayers and sobriety of the older practitioners.
“Security in the car parks, in and around the TBS and on the Island will be heightened from Friday through Saturday.”

For effective coordination of traffic tomorrow (Saturday) when the Eyo Masquerades will be on parade, Fashola disclosed that 310 buses in the Bus Rapid Transit (BRT) scheme has been arranged to commute people from 52 different locations in the state free of charge to and from Tafawa Balewa Square (TBS) where the festival is slated to hold.

According to the governor, the Adamu Orihsa Festival in the views of many international spectators rank in the pageantry on a higher plane than the Rio Carnival.

“Our current investment in the festival is therefore within the context of uplifting the play to an international standard with an eye for its potential economic impact on the lives odf the residents of Lagos State.”

He the festival which has a robust history has in cent time been associated with some unwholesome behaviour, which he said is nothing but a deviation from its rich cultural antecedents.  According to the governor, the festival is being repackaged to serve as an international tourism destination and retain some of the tradition that gave it that international appeal.   

He called on Nigerians coming in to watch the festival to take advantage of the free buses adding that vehicles would not be allowed into the Lagos Island.

Fashola cautioned that members of the public should not to spread their umbrella and put on caps or shoes except those designed for traditional and religious leaders inorder not to attract provocation of the Eyo members.

The governor added that medical personnel would be on patrol at various locations while 800 Lagos state Transport Management Authority (LASTMA) officials would be on hand to complement safety measures.

From  http://www.variety.com/review/VE1117940043.html?categoryid=33&cs=1


How's this for audacity? Dressed in stolen Yoruba tribal costumes signifying the honoring of death, a British ruling-class couple dances the Charleston. And, in this production, they're played by black actors in whiteface. That this complex, layered image is so comically legible is a tribute to the flair of helmer Rufus Norris. His staging of "Death and the King's Horseman" doesn't heal all the structural rifts in Wole Soyinka's 1975 play, but its blazing vigor and cumulative intensity prevail.

The word "death" may be in the title, but Western expectations of somber, silent mourning are blown away by the opening. African calls and drumming break the silence, flames are lit at the stage's edge and, strewing red sand on the gleaming stage floor, the company bursts into leaping, exuberant life.

Led by the turquoise-clad, full-voiced Praise Singer (Giles Terera), the actors dance, sing, sway and pray their way through a rich portrait of a market in an ancient Nigerian town under British control in 1943.

As a theatrical evocation of a different culture, this sophisticated staging is in a different league from the cultural tourism that often besets presentations of "exotic" foreign cultures. Katrina Lindsay's coherent design is a thrilling mix of low-tech traditional Yoruba styles and symbols -- faceless figures shimmering in straw, traditional costume motifs, high-strung bundles of clothing -- and modern Western devices.

Paule Constable's often counterintuitive lighting tames the epic Olivier space by edging Lindsay's neutral backdrops -- a succession of frayed veils that hint and withhold -- with luminous blue and sculpting mysterious areas of darkness with streams of hot sunlight.

While the long opening section with image-heavy text teems with life, there's frustratingly little ongoing drama with which to connect. But having established this world, Norris increases the forward momentum and a discernible plot emerges.

Elesin (a toweringly powerful Nonso Anozie) is the king's horseman, the chieftain who, a month after the monarch's death, must join him in his grave in order to escort his spirit. But Elesin has both an ego and unfinished business; on his last day, he decides he must take a young and beautiful wife.

Tribal customs are in stark contrast to those of the ruling Brits, principally District Officer Simon Pilkings (an hilariously peremptory and pompous Lucian Msamati) and his "silly" smart wife Jane (Jenny Jules, looking and sounding like the cut-glass wife in Noel Coward's "Brief Encounter").

This couple and their ignorant white colleagues are played by black actors "whited-up" -- an effect that ups the comic absurdity in a manner similar to Caryl Churchill's satire of imperialism in "Cloud Nine."

But the play is more than a culture clash. Pilkings heedlessly intervenes to stop Elesin's ritual suicide. The fallout not only risks a riot from the furious people, it forces an evaluation of conflicting philosophies over the meaning of death and the perils of selfishness running roughshod over group responsibilities.

Unsurprisingly, Soyinka's arguments are less even-handed than he claims, but the play is none the worse for that. Its weakness lies in its ungainly dramaturgy, cutting awkwardly back and forth between the two sides.

Nor does Soyinka sufficiently dramatize the moment when Elesin's fatal flaw gets the better of him. The blurred result slightly robs both character and play of their intended full tragic stature. In the extended climactic scene, it's left to an imperious Claire Benedict as Iyaloja, the "Mother" of the market, to explain everything. Yet her spellbinding conviction -- and that of Norris' entire company -- allows all the play's events and ideas to fall into a profoundly arresting resting place.

Sets and costumes, Katrina Lindsay; lighting, Paule Constable; original music, Matthew Scott; sound, Ian Dickinson; associate director, Peter Badejo; choreography/movement, Javier de Frutos; music direction/vocal arrangements, Michael Henry; production stage manager, Emma B. Lloyd. Opened, reviewed April 8, 2009. Running time: 2 HOURS, 15 MIN.
 

With: Sarah Amankwa, 'Kemicq Durosinmi, Robert Eugene, Karlina Grace, Hazel Holder, Gbemisola Ikumelo, Tony James-Andersson, Gemma McFarlane-Edmond, Coral Messam, Rex Obano, Demi Oyediran, Jason Rowe, Seun Shote.

Ohun ti araye ba so ni da oun ni won fi nbu ni


- It is the same misfortune that  the wicked people of the world afflicts one with that they taunt one with.

Bi omode ko ba de oko baba elomiran ri, yio wipe oko baba oun lo tobi ju


- A child who has never ventured out to see any other farm will always think that his father's farm is the biggest in the world.

O wu were ko gerun ona lo po

- Every lunatics also want to get a haircut , but there never is the time to do so