Under The Brown Rusted Roofs: A Repository of Yoruba Culture and beliefsa

Songs: The use of songs in the novel is an example of the use of folk medium. The songs used in the book vary from call songs (ipolowo). Praise poetry (oriki). Play time songs (orin isere) political songs etc. The message of the songs vary as their contexts . An example of a call song is on page ten (10) of the book:

E ra eja e sebe Buy fish, cook soup

Eja de, obe de Fish has come, soup has come

This is followed by praise poetry on page fourteen (14)

Omo abikan

Omo asowo ni wura leru

Omo atori aje re Ida

Merin ni Moja

N o mo ri Moro, ki n ba d’owo po

Ki o fi asiki ran mi

Omo ite gbongbo ona se omi suru

Baba mi o si n’ile

Nijo erin la de baba re

Iba be nile o ba pa eni

Iba be nile o ba pa eji

Iba be nile o ba pa erindinlogun


Child of Abikan

One who trades and has gold and goods

One who because of trade goes to

One who capture own elephant in Moja

If only I see Moro to painfular trade with

That he might bring good luck to me

One who steps on the root on the why

That he might bring good luckto me

One who steps on the root on the why

And water splutters out

My father is not at home

The day an elephant come changing

To his father’s house

Had he been at home he would have killed one

Had he been at home would killed two

Had he been at home he would have killed nineteen - - -

Other interesting songs in the book are those rendered by the women group when celebrating the passing away of ‘Iya agba’ (grandmother). One goes thus to appreciate the kind of death the woman experiences:

Iya wa lo, o rorun idera (2ce)

Ko kuku moto, owo omo lo ku si

Iya wa lo, o rorun idera


Our mother has gone, gone to a place of comfort

She didn’t die in a car crash; she died in her child’s hands

Our mother has gone to a place of comfort

Another one is rendered thus:

E wo gele genge, lori a ji gbo t’oko

E wo gele genge, lori a ji gbo t’oko

Aye ni o n je n o ni jiya

E wo gele genge lori a ji gbo t’oko


See the head gear delicately balanced

On the head of the woman who rises early

To do her husbands’s bidding

My life will be sweet and never otherwise

As the procession moves from one place to another, the songs change:

Sibi onede, ikoko onide lawa fi n sebe o

Sibi onede, ikoko onide lawa fi n sebe o

Awa, awa nile yi o, aya olola la je (2ce)

Sibi onede, ikoko onide lawa fi n sebe o


Spoons of brass, pots of brass

That is what we use in cooking

We in this land, we are wives to wealthy men (2ce)

Before the celebrating train stops, the song changes again:

Ile la baa so, ke e salejo ara (2ce)

Aso ti a wo, olowo faramo olowo

Bata ti a wo, olowo jogun idera

Gele ti a we, sukusuku bam bam

Eni o ba n wu ko be, Ile la baso, ki l salejo ara


We met clothes at home

It is no visitor to our body

The clothes we are wearing

A rich man moves with his kind

The shoes we have on,

The rich inherited comfort

Our head gear, properly set in place

Anybody that is swollen

Is free to burst

We met clothes at home

It is no visitor to our body

It is no visitor at home

The rendition of different songs at the burial ceremony of the elderly woman reveals the belief of the Yorubas about the demise of an elderly person in the community. That is why the singing women concludes:

A man with ten concludes

Does not yet know if he has children

Until death closes his eyes

It is only the one that is buried by children

That has not died barren

Alhaji, your children will bury you

Even as you have buried your mother

Another form of song in the book is political songs. This is based on the context in which they are rendered. While trying to assert their birth right as sons of the land, members of a political group change this common song:

Ni Ibadan ni won bi wa si o (2ce)

Baba wa pelu won loni nile

It is in Ibadan that we were born

Our fathers plus them own the land

To:

Ni Ibadan ni won bi wa si o (2ce)

Baba wa sebi awon ni o nile (2ce)


It is in Ibadan we were born

It is our own father that own the land

After scoring a political goal, the same group of politicians of Ibadan extraction burst into the song:

Emi la o ni yo si? (2ce)

Ba o tife o ri , be na lori

Emi la o ni yo si?


What are we not to rejoice about?

Just as we want it to be, so it has been

What are we not to rejoice about?

Songs of praise also feature in the book

Omo Ajisegiri

Mo rora

Ekun tagiri gbe ra re nija

Ma wole ma rora

Agbonrajigi, aduro d’ogun

Ma wole, ma rora


Watch your steps, move gently,

Son of Ajisegiri

Move gently

The tiger jerks body to defend himself

Watch your steps, more gently

One who shakes himself vigorously

And awaits for war to advance

Watch your steps move gently

In the same vein, the man praised in the song above is also eulogized in this piece

Baba o Baba o

Oluwa da Baba si fun wa

Awa ti ni Baba fun wa

A ni Baba

Awa ti ni Baba n gbeja

A ni Baba - - -

A ni Baba kan o,

Baba ara to mo iyi omo - - -


Father, o father

May God Preserve Baba

For us

We have a father that can defend us

We have a father

We have a father that can defend us

We have a father


We have a father - - -

Wonderful father who knows worth

Of children - - -

A song is raised to back folktale which justifies the resemblance between man and monkeys

A o deniyan, deniyan! d’ eniyan - - -

Ao deniyan leni o !

D’eniyan

Deniyan, deniyan, deniyan!

D’eniyan - - -


We will become human beings today !

Become human beings

We will become human beings today!


Become human beings! Because human beings! Because human beings

Finally, the other three songs used are children’s plays songs:

Ekun meran

Mee

O t’orun bogba

Mee

O fee mu

Mee

Ko ma le mu o

Mee

Oju ekun yi pon!

Iru ekun yi le!


The wolf should catch the goat

Bleat

It dipped his head in the bush

Bleat

It stuck its neck in the fold

Bleat

It can’t catch it

Bleat

The wolf’s eyes are red!

The wolf’s tail is heard


Esu ta epo si, ki n ri iran wo!

Ta epo si !

Devil, put oil in this fire !

That I may get something to watch!

Put more oil!

Then, this politically loaded song:


Babangida lo Mecca

O de, o ko leta

Dele Giwa gba leta,

O ku,

Omoleewe e da sile meji

Ka fi s’oku re

Agba ekose, e da sile mefa - - -


Babangida went to Mecca

Came back, wrote a letter

Dele Giwa collected the letter

And died.

School children contribute two kobo

To use for his burial

Adults at apprenticeship

Contribute six kobo - - -

Between Me and Richard : Their Superstitions ; Our Beliefs

The following are the superstitious beliefs I came across in the popular autobiographical piece by Richard Wright: Black Boy. The claims are just a little bit different from those we used to lay claim to in my childhood in a south western town of Osogbo, the now capital of Osun State. The amazing thing is that Richard lived in the then far away racist American society while I grew up in the 80’s in a remote and seemingly sleepy town of Osogbo, the town popularly known for the Osun River Shrine. This shows the bond between culture and belief systems around the world. It is also a pointer to the fact that cultural identity can not be easily eroded regardless of the distance in time or space. For me and Richard, it is their superstitions and our beliefs. Follow me to this world of ifs and magical possibilities:

Richard : If I pulled a hair from a horse’s tail and sealed it in a jar of my own urine, the hair would turn over night into a snake

Me : If I cut the tail of a wall gecko, the tail would turn into a snake

Richard : If my right ear itched, something good was being said about me by somebody

Me : If any of my ears itches, somebody is saying something about me or calling me

Richard : If I heard a voice and no human being was near, then either God or the devil was trying to talk to me

Me : If I hear my name and no human being is around, somebody is trying to call me to death

Richard: If it rained while the sun was shining, the Devil was beating his wife

Me : If it rains while the sun shines, the lion is giving birth

Richard : If I covered a mirror when a storm was raging, lightning would not strike me

Me : If I do not cover a mirror while it is raining and thunder rumbles, thunder will strike me

Richard : If I stepped over a broom that was lying on the floor, I would have bad luck

Me : If I’m beaten with a broom, my penis would shrink

These and many more possibilities are ways by which people explain concepts and phenomena around them. They exist in many cultures in the world.

Under the Brown Rusted Roofs: A Reference Book for Yoruba Culture and Tradition

This is the first in this series where I will be examining the different features of Yoruba culture in Abimbola Adunni Adelakun’s book. The book, a creative expository of Yoruba beliefs, culture, worldview and tradition, is dotted by either one Yoruba saying ,proverb or belief. Interestingly, the writer has a number of them transliterated to English. In this day of globalization , when a lot of people see being versed in their own tradition as a sign of being backward, it is important to point out this great endeavour by this ‘daughter of the soil’. Do you care to go on a tour of the Yoruba world with me? Let us ecplore the list of Yoruba sayings in the book :

- Obinrin so iwa nu, o ni oun lori oko
· A woman loses character and blames her head for not giving her a good husband

- Owo iya ko di ti omo lowo
· A mother’s trade does not disturb the daughter’s

- Eniyan o ki nse owo meji, ki eran ma je kan
· No one can do two trades at a time without one being affected
(Pages 18-19)
- Aparo kan o ga ju kan lo, a fi eyi to ba gun ebe
· One sparrow is not higher than the other except one stands on the ‘ebe’
- Enu, enu ni ese fi n pa epuro oju ona
· It is yet with the mouth that foot crushes the palm kernel

- Ile ni apoti joko de idi
· It is at home that the stool sits to wait for the buttocks

- E je ki ase bi won ti n se , ki o leri bi ti ri
· Let’s do it the way it is done so that it may go the way it should

- Ile ti o ti oju eni su, enikan ki mo irin be rin
· The darkness that did not fall before one’s eyes, willit not be difficult for one to walk through it
- Ibi a nlo o jinna , ibi ti a ya lopo
· Where one is going is not far, it is where one will branch that are many

- A ni tori pe a je eran, ki a pe malu ni buoda
* You do not say because you want to eat meat, you will start calling a cow ‘Big Brother’

- Mo lo, mo bo mi o bomo je
· I went , I came back and I didn’t spoil my father’s name

- Oro sunnunkun, oju sunnunkun ni a fi wo
· A mater that is sunnunkun, we use sunnunkun eyes to look at it

- Alfa soro, ojo ku, o ni olohun se eri oun
· The Alfa spoke and thunder r rumbled, he said even God attests to what he is saying
(pages 24-26)
- Kini oun jo e lowo, too fi n jo ile
· What’s hot on your hands that you are putting on the gtound

- Oro kan ki wuwo ka fi obe bu, enu ni a fi do
· A matter can not be so hard that one should use a knife to cut it, it’s still with the mouth you say it
- Erin ki fon , ki omo e ko fon
· An elephant does not trumpet and its child does too

- O ri oju ese were, o bu, se ti eyan gidi lo ma ri bu bayen
· You see a madman’s footprints on the way and you don’t quickly scoop it to make rituals that will bring you money; you think a sane person will leave his own lying around
(pages 67-69)
- Obe bu omo lowo, a fi ibinu ju obe nu, se obe o ti se ijamba naa ni?
· The knife cuts the child’s hand, you throw the knife away , has the knife done its work

- Aso o ba Omoye mo, Omoye ti rin ihoho wo oja
· The cloth cannot reach Omoye again, Omoye has wlked naked to the market

- O pe laye, oju e o ni ri ibi, o fowo mu kan ninu mejeji
· If you want to live long and not experience evil , you will have to choose one

- Eyele I ba onile je, ba onile mu, ki o dojo iponju ki o fo lo
· The pigeon does not eat with his owner , drink with his owner and fly away on trying days
These and many more sayings are used in the book. Watch out for the other parts bringing out indigenous knowledge contained in the fictional piece.



*

AWILELE OR FERE? BEAUTIFUL NUBIA IN HIS BEST

Hoping to lay my hands on either of Awilele or Fere, I walked into the vendor’s shop asking for Beautiful Nubia’s latest release. I didn’t even noticed that the VCD given to me featured songs from both albums until I got home ready to savour the combined dish of poetry and soulful music that has become the trademark of the dreadlocked musicopoetry maestro. I have never regretted the purchase of the CD as I still enjoy every bit of it. From the highly traditional virtue flavoured opening track, Ikoko Akufo, to the peace seeking closing track, the album is a delight to soulful music lovers. The first track is an appeal to a beautiful village damsel to retrace her step after she has been defiled by a cunny young city wise man. The shots from the Narrow Path, to which it serves as theme song, enhances the beauty and understanding of the message. The countryside setting of the video emphasizes the moral chastity of women preached by the song. He bemoans the misfortune which befalls Awero, a beautiful and seemingly virtuous woman. She is sought after by all sorts of men until she falls a prey to the antics of the city boy who turns her to a broken vessel as she loses her innocence to him. This has a consequence: she is not met at ‘home’ by her husband on the first night of their marital consummation. She becomes an object of shame in her community. As a result , she considers suicide because she ahs dragged the name of her family in the soil. A hitherto peace loving community nearly gets torn apart by war. However, the message of the song is clear: there is always life after every fatal mistake. The song, in my own opinion , is a piece of advice for the society to extend the value boundary to accommodate instances such as that of Awero. However, it is a portrayal of the highly moralistic and virtue laden African society which holds women, sex and the marriage institution in very high esteem. It is asong of hope fro the troubled souls as it closes with the refrain: Ile owo ni o wo saya oo Ile ola ni o wo saya….. The second track is a reflection on the Nigerian society from the perspective of achils. The song beckons on the Nigerian Child not to be afraid of the future as things they see now will become a thing of the past. Set in a monochromatic background , the video has a girl-child walking around in the midst of poverty, degradation and neglect with little or no hope . Ma fo ya , a combination of both English and Yoruba lyric, appeals to the child not to entertain any fear for tomorrow even though today looks murky : Child …child …child There will be a better way Child … The sun will shine in your eyes Segun wishes he could change the world for the child, but he cannot. The only thing he does successfully is to offer her hope with the refrain that closes the track: Omo o Omo o Omo o ma be ru Omo o ma foya o….. Ife Oloyin is the third track is a love song treating husband –wife squabbles. The opening typifies the little quarrel usually between lovebirds. the husband leaves the home angrily only to return seeking the open arms of his wife. Women, known for how easily forgiving they are, the woman welcomes her husband with open arms . harmony at home is the main message. The man of the house confesses that no one understands him better than his woman and pleads with her: Such a lovely world I find no one to trust You are the only one who understands I will wipe away your tears Take me in your arms This is where I belong I’m here to stay……… The track also sung with a combination of both Yoruba and English closes with the Yoruba refrain: Ololufe to ti n reti lo nbo lona Baby mo ri ire mu bo ni irin ajo Ife oloyin ti ko ni akawe Jowo fo orin jin mi fa mi mora Your lover is on his way back Baby , I’ve a lot of goodies from my journey Please, forgive and embrace me Ife Oloyin is truly sweet love ! The beat, the lyrics and the video are a marriage of creativity. The fourth track, Ohun Oju ri, which roughly means what the eyes have seen, is a sober reflection on the state of the nation. Beautiful Nubia traces the problem of Niger Area from the colonial period to the present time and wonders if things have changed at all. He questions the ineptitude of the leaders and their lackadaisical attitude to developing the nation. He queries the leaders’ globetrotting looking for help while indeed the solutions to our problems are within the shores of this great nation. He charges everybody to accept responsibility for the failure of the Nigerian state. He posits that politically, economically, ideologically, Nigeria is still in slavery. He, however, warns that : E gbe’ra kuro ninu okun aye E mura , e sora a ma njin si koto o E sora, e dakun a ma njin si koto o He asks why we try to ‘fix things from top to the ground’ whereas we need to start frm ‘the ground upwards’. He preaches individual re-orientation, love and communal living which will bring out justice and peace. Segun admonishes all of us to shun selfishness and greed and become our brother’s keeper. He bemoans Nigerians’ slavery to materialism, religion and foreign ideals. He prophesies greatness for the country if only we can inculcate the spirit of love, culture, values of hard work, perseverance and pride in what is ours. He has an anthem for the young men and women who hold the key to the future : I’m not ashamed To be who I am I am proud of Africa I am not afraid I am the child of the most high I am not ashamed He closes the song with the refrain: Ohun oju nri Enu o ma ni le so o ` Ohun oju nri Omo o ma nile so bo dele oo.. What the eyes have seen The month cannot recount What I’ve seen I will not be able to say them all Spiced with the appropriate video clip that back up the message, the video is a success. I hope the message has already been passed. The next track is a bit livelier than the last track. It is a message of hope and patience urging perseverance which will translate into success: We will never give it up For You, for us for life It is a gospel against quick material success that has become the hallmark of our society. He urges us all to be patient with his refrown: Yeye e ma ma binu siwa o Ko si owo loni, sebi ola nbo wa daaara Oruko rere o san ju ile oro Omo oko n se iwon to le se o Mother please don’t be angry with me There’s no money today, but there’s a better tomorrow A good name is better than gold and silver I’m trying my best His argument is that a good name is better than any wealth quickly and dubiously amassed. Onile Ayo comes next as both a warning against evil and a prayer for good things to come our way. He opens the track with a rhetorical question: Ta lo ma gbe aye duro ? 2ce Aye dori kodo Who will says world? It’s turning upside down He then launches his punch on evil doers : Ohun buruku to hun gbe se ni koko Iwa ibaje ti o wu ni koko Ti o se bi owo eda kan o le ka o A o gbe ye wo sinu aye E wu iwa ti o dara Ki aye ye wa.... The evil thing you do in the dark That you think nobody sees you BN ends up calling everyone to do good. He then appeals to God: Baba onile ayo Ijo ti o ba ngbere bo Ko ma gbagbe awa… The track is soulful, lively and danceable with a clear message for us all to do and encourage what is good while condemning what is evil. The audience of the live performance has a nice wriggling to the call of the drumming. The next track, Tables Turn, confirms the versatility of Segun Akinlolu as he employs the countryside style to give a powerful message. He sings succour to the helpless and the down trodden telling them that situations can and do change. Shot with a dump site at the background, the track pleads with those who have more than enough to remember those who do not have as the situation can change anytime. He says even if they cannot do anything now, the situation may change any time. He questions the rationale behind some people having so much while a lot have so little to survive on. He insists that : I tell you, one day Table will turn Tables turn…… The last trak , another live performance, is a marriage of love, peaceful co-existence, justice and the truth. Titled Come Warrior , BN urges the warriors to shield their sword. It is a mix of Yoruba and English. It is an appeal for wars to cease and war mongers to shield their sword. Apparently done in Canada , the message even gets to the whitemen on stage with him. There is too much of instrumental, yet, the message is not lost : all warring people should shun the destructive tendency of war and embrace the harmonious chord of peace. Once again, Beautiful Nubia has not let me down with his brand of music and messages. Since 2003, when I first came across his Jangbalajugbu albums in room 53 A Mellamby Hall of University of Ibadan, I still remain hooked to his consistent ways of rendering good rhythm and strong messages. Keep it up.

From Akeem to Gani: Not a Tribute

Omo aa boo Omo aa booFawehinmi, maa bo ki o jo ko mi o
Oju e rekereke okunrin rogbodo wa jo ko wa ko mi oo
Oh, legend, come with me Fawehinmi,
please, come and join the dance Handsome huge man,
come dance with me.

A lot has been said and written about the life and times of the late legal luminary, Chief Gani Fawehinmi since his death became public knowledge more than two weeks ago. His demise drew out comments from friends and foes alike. In fact, in the words of Solana Olumhense, in his Sunday Guardian Column of 13th September, “everybody wanted to be seen to be seen to be ‘morning’ the great lawyer and humanist”. But how many did mourn him truthfully? Was it not an issue of people mining ‘Gani’s reputation and getting undeserved attention according to Olumhense quoted above? This poser shows that Gani’s death is a different stroke for different folks.Well, regardless of what was said or not said, the scenario that is now playing itself out has been predicted about three years back when the performance poet, Akeem Lasisi, dedicated a poem in his collection, Night of my Flight, to late Chief Fawehinmi. The poet, like a prophet, sees beyond the veil of time and weaves a beautiful local mat of words for Gani, the Great. As if he knows that death will soon knock on the SAM’S door and many including his sworn antagonists, will heap their tributes on him, he in the first stanza, asks:As the sun of the struggle still burnsCan I spread my carpet of songsFor the sturdy feet of the people’s priest And a beautiful carpet of songs the poet does lay! The second stanza he has an answer for the insincere mourners who vehemently opposed what Gani stood for in life but were the first to blow his trumpet in death:

I am not of the tribe of the gifted buriers

Who await the death of the seer

Before bathing his kernel In purple encomiums of crocodile tears

And “purple encomiums of crocodile tears” did they really shed. The dignified epitaphs such as “ a sincere critic” and Gani “was genuine” uttered by those who slowly and painstakingly made his lungs cancerous are not only ‘purple’ but ‘rainbow coloured crocodile tears’. They sent him to his ‘early’ grave at 71( considering the lifespan in the Fawehinmi’s lineage) and yet came out to greet his death with empty phrases of praise. What an insult!Lasisi understands their pranks and antics. He knows what they are capable of doing and he, in the third stanza, sings it out loud and clear:They mock the horse when the horse is still aliveMock the mare and mock its maneBut turn its tail to a tin godAt the prompted demise of the unsuspecting beastAfter bashing the hawks to their rightful place they belong – the abyss of history, the prophetic poet starts spreading his ‘shawl of songs’ for the ‘anointed priest’ of the masses. He proclaims Gani’s famed stand with the downtrodden which ‘the Niger witnessed’ ‘Benue applauded’ and ‘the Lagoon acclaimed with silver waves’. He eulogizes Fawehinmi’s sterling qualities which stood him out among his colleagues. The poet documents Gani’s bravery, courage and audacity before tyrants with only the wig and a strong principle as his weapons. Lasisi reflects the injustice meted out by a professional cabal to a man seeking a better use of the instrumentality of their profession. Gani was denied SANship for long :

The road to your SANhood a needle’s eye
Where politics of bitterness held sway
For a donkey’s years

Akeem, then attests to Gani’s strong belief in the equality of all men before God and the Law. To Gani, what is good for the goose is also good for the gander. Chief Mike Ozekhome, one of the numerous lawyers who once worked for Gani, confirmed this as well :He (Gani) accepted me into his chambers without a letter from anybody. I sim ply walked to him on November 21, 1981 and I said ‘Chief , I want to work with you. And he said what is your name ? And I replied , ‘Mike Ozekhome’, and he said, ‘are you ready to work? I said , yes sir’.In praising Gani’s insatiable desire for justice for everybody regardless of the circumstances of their birth, the poet posits :

You say birth is birth
Whether of the king whether of slave
Birth is birth, birth is birth…..
The royal fox and jungle rat
Must face a common music of the public court
Alluding to the incorruptible person of Gani, the poet asserts:

I want to carry the cross Of the masses
But I lack your principle of iron steel
That bends not in settlement floods
He strengthens the claim with a rhetorical question:
If they tickle my lust with s ministerial apple
Where looting is the order of the day
Kickback, the central clause of the contract law
Can I shy away as you’ve always done?

Lasisi brings his bridal chant to a moving end chronicling Gani’s endless struggles against injustice, corruption, mis-governance, abuse of power and poverty. He gives an insight into Gani’s incessant cries for a recalcitrant Nigerian society which appears to be deaf to all pleas for a change in the system of things. Gani sees and weep for a society bent on its own self-destruction.May be Lasisi has actually, without knowing it, reassured Gani when he reflectively put a question-statement to his barber of 38 years days before his exit. It is better captured in the words of the man himself, Joseph Ekpo :The last time I was with him was last August , on the 7th to be precise . I went to do his haircut and he looked at me in the eyes and said , ‘I have tried’( An interview in the Sunday Champion, Sept 12, 2009)And Gani did try! That is why Lasisi talks to Gani’s uncertainty with a couplet that runs through the final lines of his chant:

The tears you shed are worth the pain
The pain you take is not in vain

Gani, your life was never in vain. Your existence taught us a lot. You are, in the words of Walter Carrington, one of the most honest, most incorruptible and most fearless men Mother Nature bequeathed to the world. You live on in our minds.A word for the insincere mourners though:We will all die. That cannot be rigged nor purchased with billions, now floating over our heads. It is the pronouncement of God Himself and thus, we will all pass into history. But then, not everyone who passes into history belongs to the ages….. Gani has just become immortal – a legend(An article by Justice Kayode Eso in The Guardian, Monday, Sept. 14, 2009)A legend you are! That is why you are celebrated not mourned.

Omo aa boo Omo aa bo