Funny October People

femi Akintunde-Johnson

As October rolls off, it is understandable that a member of that auspicious month should throw the last salute. ‘’How do I do it this particular week o?’’ wracked me for days, then it hit me: why don’t we honour those who came on this earth, or left it, in October, with a parting shot – in ungrudging felicitation of their remarkable attainments. Interestingly, my picks rode into our consciousness in the 70s and 80s on the wings of their comedies and slapsticks – regardless of whatever they may or might have wintered into – and that will be our focal point. Permit me to reminisce on these great thespians, once again:

“MOSES OLAIYA ADEJUMO, MON

A very unusual personality. His biographers claimed he was born June, 1937, while a yearbook puts his birthday at Sept. 22, 1936. However, one thing is incontestable about Moses Olaiya Oluwasanya Adejumo; he is the Baba Sala – Nigeria’s answer to America’s Charlie Chaplin. Moses Olaiya, the comic icon developed as a wild seed: germinating with luxuriant gusto into many branches, producing colourful fruits. While still in Obokun High School, llesa – now State of Osun (1954 – 1957) – he took to magic. He was so successful that one of his early apprentices was Moshood Abiola Folorunso (yes, that’s the late Professor Peller)!

Fed up with school with a year to go, Olaiya came to Lagos in 1958, and set up a flourishing band in 1960 (Federal Dandies Band). One of his band boys was Adeniyi Adegeye (yes, you’re right, King Sunny Ade).

The supreme funny man carved out a drama group out of his band in 1965, and Alawada Theatre Group was born. In the group was Ade Afolayan (yes again, Nigeria’s first ‘home-groomed’ filmmaker, and talented dramatist, late Ade Love).

With consistent hits in all his creative endeavours, Moses Olaiya beat himself roundly when he won a local competition which fetched him a one year contract to feature monthly on the first TV in Africa (WNTV). In January 1966, Baba Sala stepped on TV – the first drama troupe. Seventeen years later, with no more hills to conquer, Baba Sala stepped out of TV – a folk hero, a national icon (M.O.N in 1978) and plunged into celluloid. Of course, with a resounding splash.

Orun Mooru (1982), Aare Agbaye (1985), Mosebolotan (1986), Agba Man (1989) and Obe Gbigbona (1990) set off Baba Sala as Nigeria’s most enduring dramatist and the adorable bungling man who taught Nigerians how to laugh at their foibles and inadequacies. [He died October 5, 2018 at the age of 81]. Oh, yes… we go with May 17, 1937 as his confirmed birthday. Thank you.

POSTSCRIPT: Early part of 2021 has witnessed robust arguments and disputations that suggest that Baba Sala might indeed be one of the strongest figures to accord the contentious title of the original ‘proponent’ of capturing Nigerian dramatic plots on video (VHS) format. Contrary to our position somewhere in these ‘Reflections’, movie scholar, Shaibu Husseini, PhD, quoted Baba Sala’s son, Emmanuel, with the revelation that Agba Man, shot and released in 1988, was actually shot on Video, not Celluloid nor Reversal Film. If the young Adejumo has a faultless recall capacity (indeed, he reconfirmed to us), then the dateline ricochets against long-held beliefs and assertions.

LANRE HASSAN

Still teaching by leading the ropes and acting her roles efficiently and relentlessly – Lanre Hassan Adesina (Iya Awero) has logged nearly six decades at the acting portals. Well, she was part of the Young Star Concert Party around 1964 – and that was not the beginning of her romance with drama. Reportedly born October 3, 1950, she incredibly started acting while barely in her teenage years (at 14 yrs) in an era when theatrical displays were set aside for vagabonds. At 71 years old this year (2021), she has seen it all. A founding member of Ojo Ladipo theatre group, Awada Kerikeri, etc; the inevitable “Maami of Yoruwood” is a virtual irreplaceable in the sketch of presentations of Yoruba dramaturgy. She has also amassed works in the English medium of the art with surprising elasticity – a totem to an undying thespian spirit.

SUNDAY OMOBOLANLE, MFR

Ironically, this vendor of raucous mirth, joyous jocularity and disguised buffoonery, is also extremely withdrawn and introverted – at least, from the sidelines.

The well-liked actor, playwright, comic, director and producer, Sunday Omobolanle would be 67 in October, 2021; and by his own admittance, he swayed into acting after watching Gbekude, a weekly drama on NTA 10, performed by “students of the University of Ife” (possibly the Ori-Olokun Players). From an apprentice pharmacy assistant, he joined the Ojo Ladipo Theatre Group in the early 70s. Soon, he was faced with an ultimatum thrown by then leader of the group, Ojo Ladipo: face theatre full time or quit. He chose to drop out of the pharmacy, forever.

By the time Ojo Ladipo died in 1978, Omobolanle had entrenched himself into the group as ‘Aluwe’, the swashbuckling, multi-clothed jester. The tag, phrasing his thought, was not original. The actual inspiration was by a man jocularly called Aluwe, from his pharmacy world, whose facial contortions and postures evoked laughter, in spite of not uttering a word of comedy. And Aluwe was reborn. Roughly translated, Aluwe in English is ‘the swimmer’. Well, the ‘Papi’ that completes the moniker was added by King Sunny Ade at the Ariya nightclub where Omobolanle frequented as a guest and fan. And it stuck: Papi Luwe.

But he is not all guffaws and comedy; he has played non-stereotypical roles which attest to the possibility that there could be a life outside of Papi Luwe. He played Baba Mero in the emotionally charged Omi Lo Danu (1978), a commemorative stage play in honour of the group’s fallen leader, Ladipo. His performances as Osuntunde in Kannakanna, and another role in Ekun Alagbara are similar arguments about his ability to deliver outside the Aluwe bubble.

With the demise of Ladipo, the need arose to re-strategise; the group changed to Awada Kerikeri, and Adebayo Salami, aka Oga Bello, was appointed the new leader. The group soon surged into different areas of performing arts: television, celluloid, and later, video productions.

Quietly impressive, though trapped by his uni-dimensional characterisation, Sunday Omobolanle’s efforts to spread joy and meaning could be seen in some of these works: Ogun Ajaye (film, 1985), Omo Orukan (film, 1987/8), Eri Okan (film, 1989); in these videos: Asewo To Re Mecca (video, 1992), Oko (Stone), Ilu-le, Iyawo Alhaji, Love of My Life (2002), 36 Kinihun, Green Snake, Látòrunwá, Ogun Àdùbí (all 2003); Lánléyìn (2004), Eewo Orun (2005), Adun Ewuro (2006), Head Gone (2014), Konkobilo, Oba Alatise, amongst hundreds of others.”

[Adapted from my book, Reflections – Amazon – June, 2021]